Wadoryu Grading Syllabus: 5 Kyu - 5 Dan

WADORYU
GRADING SYLLABUS
5th kyu – 5th dan
Joen Mawashi ry
NAME: ________________________________
v. 1.1.2010
Joen Mawashi ry Grading syllabus 3
CONTENTS
GRADINGS......................................................................................................... 4
5th kyu (yellow) .................................................................................................... 5
4th kyu (orange) ................................................................................................... 6
3rd kyu (green)..................................................................................................... 8
2nd kyu (blue) .................................................................................................... 10
1st kyu (brown) .................................................................................................. 12
1st dan (black) ................................................................................................... 13
2nd dan .............................................................................................................. 14
3rd dan............................................................................................................... 15
4th dan ............................................................................................................... 16
5th dan ............................................................................................................... 17
PAIR TECHNIQUES (KUMITE) ........................................................................ 18
ONE STEP SPARRING (IPPON KUMITE) ................................................... 18
OHYO KUMITE (SEMI-FREE SPARRING)................................................... 22
KIHON KUMITE (BASIC SPARRING)........................................................... 25
4 Grading syllabus Joen Mawashi ry
GRADINGS
The progress of a karate student is measured with gradings. The purpose of the grade is
also to indicate what level the instructor can expect from the student. The grades in the
adults' system are white (beginner), yellow (5th kyu), orange (4th kyu), green (3rd kyu),
blue (2nd kyu), brown (1st kyu). There are 8-12 different black belt levels depending on the
style (1st dan, 2nd dan, 3rd dan etc.) Already a 3rd dan can be considered rare.
The grades are awarded in gradings, which are organized by clubs. The Finnish Karate
Federation grading system: In order to achieve the right to award grades, one must take
the grading course and be awarded the grading license. Also, in order to award the yellow
or orange belt, one must have at least brown belt. To award the green or blue belt, one
must have at least black (1st dan) belt. At least 2nd dan black belt is required to award
brown belts. The brown belt can also be awarded by the dan-committee in the same way
as the dan-grades. The dan-committee is comprised of 4-6 black belts.
The Finnish Karate Federation has also issued recommendations for minimum time limits
between the grades. Also, many clubs have their own requirements for minimum amount
of participated training sessions.
BEGIN YEL- OR- GREE BLUE BROWN BLACK FKF time

3-4 mos.
12 mos.
12 mos.
12 mos.
GIN- LOW AN- N 1st dan limit!
3 mos.
6 mos.
NERS’ GE
COUR
SE
One must always carefully prepare himself for the grading. One should not attend the
grading, if he is not certain about his ability. In the grading, one should do his best and per-
form the techniques as powerful, fast and purely as possible. Also the mental attitude is
important. Despite the fact that if there are flaws in the previously mentioned matters and
therefore one does not pass the grading, he should not give up. On the contrary, it should
encourage one to practice even harder.
Acquiring a certain grade should not be the ultimate goal and one must not settle for it be-
cause gradings and even competitions are only tests. Real budo is training.
5th kyu (yellow)
TACHIKATA (stance) The grading is done after a 3-month begin-

1. Kiba-dachi ner’s course.
2. Shiko-dachi
3. Zenkutsu-dachi The typical characteristics can be seen in
the techniques, there are not too many mis-
UKE (block) takes, training is active and the person has
1. Chudan soto uke, kiba-dachi a good attitude.
2. Chudan uchi uke, kiba-dachi
KERI (kick)
1. Maegeri chudan
2. Surikomi maegeri chudan
3. Sokuto fumikomi
TSUKI (punch)
1. Junzuki
2. Gyakuzuki
RENRAKU WAZA (combination technique)

1. Junzuki jodan – gyakuzuki chudan
2. Surikomi maegeri chudan – gyakuzuki chudan
IPPON KUMITE
Chudan uke ipponme, nihonme (No. 1 – 2)
KATA
Pinan Nidan
UKEMI (rolling / breakfall technique)

1. Rolling ukemi forwards, from half-kneeling stance
2. Backwards breakfall, from standing position
3. Sideways breakfall, from standing position
GOSHIN JUTSU (self-defence technique)

1. Break free from one hand grip from the wrist
2. Break free from strangulation
4th kyu (orange)
TACHIKATA At least about 3-4 months since the previ-

1. Mahanmi no nekoashi-dachi ous grading.
2. Mashomen no nekoashi-dachi
3. Hanmigamae Stances are correct and precise, technique
can be almost correct and one has a cor-
UKE rect attitude.
1. Chudan soto uke, kiba-dachi
2. Chudan uchi uke, kiba-dachi
3. Jodan uke, kiba-dachi
4. Gedan barai, kiba-dachi
KERI
1. Maegeri chudan
2. Mawashigeri chudan
3. Surikomi sokuto chudan
TSUKI
1. Junzuki no tsukkomi
2. Gyakuzuki no tsukkomi
RENRAKU WAZA
1. Mawashigeri chudan – gyakuzuki chudan
2. Maegeri chudan – sokuto fumikomi – gyakuzuki jodan
IPPON KUMITE
Chudan uke ipponme, nihonme (No. 1 – 2)
Jodan uke ipponme, nihonme, (No. 1 – 2)
Chudan maegeri uke ipponme, nihonme, sanbonme (No.1 – 3)
KATA
Pinan Shodan, Pinan Nidan
UKEMI
1. Rolling ukemi forwards, from standing position
2. Rolling ukemi backwards, from half-kneeling position
GOSHIN JUTSU
1. Break free from one hand grip from the wrist and perform a joint lock
2. Break free from strangulation and perform a joint lock
4th kyu (orange)
Attended training sessions, gray squares = minimum

3rd kyu (green)
TACHIKATA At least 6 months since the previous grad-

1. Gyakunekoashi-dachi ing.
2. Kokutsu-dachi
3. Shizentai-dachi One meets the previous requirements.
UKE One can also perform techniques fast,
From the fighting stance, stepping back keeps the guard up, the combinations are
and aside from the attack line smooth and one pays attention to own safe-
1. Chudan soto uke ty while performing the techniques.
2. Chudan uchi uke
3. Jodan uke Excitement does not cause too many mis-
4. Gedan barai takes.
KERI Also, a correct attitude must be seen while
1. Surikomi mawashigeri jodan training and one must not give up.
2. Sokuto chudan
3. Ushirogeri hiza
TSUKI
1. Kette junzuki
2. Kette gyakuzuki
3. Tobikomizuki, shizentai-dachi
RENRAKU WAZA
1. Gyakuzuki jodan – soto uke chudan – mawashigeri jodan
2. Gedan barai – gyakuzuki jodan – surikomi sokuto chudan
3. Mawashigeri chudan – ushirogeri hiza – gyakuzuki chudan
IPPON KUMITE
Chudan uke ipponme, nihonme (No.1 – 2)
Jodan uke ipponme, nihonme, sanbonme, yohonme (No.1 – 4)
Chudan maegeri uke ipponme, nihonme, sanbonme, yohonme, gohonme, ropponme
(No.1 – 6)
OHYO KUMITE
Ipponme, nihonme (No.1 – 2)
KATA
Pinan Sandan, Pinan Yodan, Pinan Shodan, Pinan Nidan
UKEMI
1. Rolling ukemi forwards, from a standing position, finishing with a breakfall
2. Rolling ukemi backwards, from a standing position
GOSHIN JUTSU
1. (See previous no. 1) + control the opponent
2. (See previous no. 2) + control the opponent
JI YU KUMITE
3rd kyu (green)
WORKING AS AN ASSISTANT INSTRUCTOR

NO GROUP DATE INSTRUCTOR’S SIGNATURE
1.
2.
3.
4.
5.
- contact the instructor of the group where you want to assist, contact information can
be found from the website of the club
- after the session, ask the instructor to fill out this form
- work as an assistant instructor at least five (5) times
- bring the filled out form to the grading and show it when asked
Working as an assistant instructor includes continuous adjusting of the techniques and

sometimes taking care of the warming up and stretching. Plan this with the instructor in
advance. Standing idly during the session does not count as assisting and therefore you
will not get a signature.

2nd kyu (blue)
UKE At least 12 months since the previous grad-

1. Uchi uke – gyakuzuki ing.
2. Gedan barai – gyakuzuki
3. Shuto uke – gyakuzuki At this point training is to be done on one’s
own initiative to improve oneself.
KERI
1. Surikomi sokuto chudan One meets the previous requirements. Al-
2. Ushirogeri chudan so, one must be able to generate power
3. Uramawashigeri chudan correctly in the techniques.
TSUKI Pairwork must be controlled and behavior
1. Kette junzuki no tsukkomi both in and outside the dojo is exemplary.
2. Kette gyakuzuki no tsukkomi
3. Nagashizuki, shizentai-dachi
4. Uraken, shizentai-dachi
RENRAKU WAZA
1. Gedan barai – mawashigeri jodan – gyakuzuki chudan
2. Surikomi sokuto chudan – ushirogeri chudan – uraken jodan
3. Gyakuzuki jodan – surikomi mawashigeri jodan – soto uke chudan – tobikomizuki jodan
– gyakuzuki chudan
IPPON KUMITE
Chudan uke ipponme, nihonme (No.1 – 2)
Jodan uke ipponme, nihonme, sanbonme, yohonme (No.1 – 4)
Chudan maegeri uke ipponme, nihonme, sanbonme, yohonme, gohonme, ropponme,
(No.1 – 6)
OHYO KUMITE
Ipponme, nihonme, sanbonme, yohonme (No.1 – 4)
KATA
Pinan Godan, Naihanchi, Pinan Sandan, Pinan Yodan, Pinan Shodan, Pinan Nidan
GOSHIN JUTSU
1. Defending against a hook punch towards the head
2. Defending against a mawashigeri
JI YU KUMITE
2nd kyu (blue)
WORKING AS AN INSTRUCTOR AND TRAINING

NO GROUP DATE INSTRUCTOR’S SIGNATURE
1.
2.
3.
4.
5.
Training
- agree on the instruction in the instructor meetings

- after the session, ask the instructor to fill out this form
- work as an assistant instructor at least five (5) times and participate at least in one
instructor training course (information about upcoming courses is published at the
website of the club)
- bring the filled out form to the grading and show it when asked

1st kyu (brown)

From hanmigamae dachi, stepping back ing.
and aside from the attack line
1. Chudan soto uke – gyakuzuki Active participation in training camps and
2. Chudan uchi uke – gyakuzuki working as an instructor is required.
3. Jodan uke – gyakuzuki
4. Gedan barai – gyakuzuki One meets the previous requirements and
5. Shuto uke – gyakuzuki the techniques should be automatic and
precise. “Maturity” and ”preciseness”
KERI should be seen in the techniques.
1. Maegeri chudan
2. Sokuto chudan
3. Mawashigeri chudan
4. Uramawashigeri chudan
TSUKI
1. Junzuki jodan
2. Gyakuzuki jodan
3. Tobikomizuki, hanmigamae-dachi
4. Nagashizuki, hanmigamae-dachi
5. Uraken, hanmigamae-dachi
RENRAKU WAZA
1. Mawashigeri jodan – ushirogeri chudan – gyakuzuki chudan – nagashizuki jodan
2. Junzuki jodan – gyakuzuki chudan – gedan barai – surikomi uramawashigeri jodan –
gyakuzuki chudan
3. Uraken jodan – gyakuzuki chudan – uchi uke chudan – mawashigeri jodan – gyakuzuki
chudan
OHYO KUMITE
Ipponme, nihonme, sanbonme, yohonme, gohonme, ropponme, nanahonme, happonme
(No.1 – 8)
KIHON KUMITE
Ipponme, nihonme, sanbonme, yohonme, gohonme (No.1 – 5)
KATA
Kushanku, Naihanchi, Pinan Godan, Pinan Sandan, Pinan Yodan, Pinan Shodan,
Pinan Nidan.
JI YU KUMITE
1st dan (black)

From hanmigamae dachi, stepping ing.
aside from the attack line
1. Chudan soto uke – gyakuzuki One is expected to participate in training
2. Chudan uchi uke – gyakuzuki camps regularly.
3. Jodan uke – gyakuzuki
4. Gedan barai – gyakuzuki One is expected to work as an instructor at
5. Chudan shuto uke – gyakuzuki his own dojo.
KERI One meets the previous requirements, the
1. Mawashigeri jodan techniques are controlled perfectly and one
2. Ushirogeri chudan shows calmness of the mind even during
3. Uramawashigeri jodan the grading.
4. Kakatogeri jodan
5. Ushiromawashigeri jodan
TSUKI
1. Haito uchi
2. Shuto uchi
3. Tobikomizuki
4. Nagashizuki
5. Uraken
RENRAKU WAZA
1. Mawashigeri jodan – ushiromawashigeri jodan – gyakuzuki chudan
2. Junzuki jodan – gyakuzuki chudan – soto uke chudan – kakatogeri jodan – gyakuzuki
chudan
3. Gyakuzuki chudan – surikomi mawashigeri jodan – uchi uke chudan – gyakuzuki
chudan – nagashizuki jodan
OHYO KUMITE
(No.1 – 8)
KIHON KUMITE
kyuhonme, jupponme (No.1 – 10)
KATA
Seishan, Chinto, Kushanku, Pinan Godan, Naihanchi, Pinan Sandan, Pinan Yodan,
Pinan Shodan, Pinan Nidan
JI YU KUMITE
2nd dan
UKE
From hanmigamae dachi, stepping aside from the attack line
1. Gedan barai – gyakuzuki

2. Jodan shuto uke – gyakuzuki
3. Teisho gedan barai – gyakuzuki
4. Hizageri uke – gyakuzuki
5. Morote uke – tobikomizuki
KERI
1. Ushirogeri chudan
2. Surikomi uramawashigeri jodan
3. Kakatogeri jodan
5. Tobimaegeri jodan
TSUKI
1. Nagashizuki – gyakuzuki, hanmigamae-dachi
2. Haito uchi – gyakuzuki, hanmigamae-dachi
3. Shuto uchi – gyakuzuki, hanmigamae-dachi
4. Uraken – gyakuzuki, hanmigamae-dachi
5. Kaitten tetsui – gyakuzuki, hanmigamae-dachi
RENRAKU WAZA
1. Gyakuzuki chudan – shuto soto uke chudan – mawashigeri jodan
– ushiromawashigeri jodan.
2. Junzuki jodan – gyakuzuki chudan – uchi uke jodan – surikomi sokuto chudan
– gyakuzuki jodan
3. Uchi uke chudan – tobikomizuki jodan – surikomi uramawashigeri jodan
– gedan barai – kakatogeri jodan
OHYO KUMITE
(No.1 – 8)
KIHON KUMITE
KATA
Pinan Shodan, Pinan Nidan + two (2) elected katas from the following:
Jion, Jitte, Rohai, Bassai, Niseishi, Wanshu
JI YU KUMITE
3rd dan
UKE
Performed with a partner. Counter attack freely
1. Gedan barai
2. Jiju uke
3. Shuto uke
4. Morote uke
5. Hizageri uke
6. Jodan uke
KERI
1. Surikomi mawashigeri jodan
2. Uramawashigeri jodan
3. Kakatogeri jodan
5. Tobimaegeri jodan
TSUKI
1. Tobikomizuki – gyakuzuki
2. Gyakuzuki – nagashizuki
3. Haito uchi – gyakuzuki
4. Empi uchi – gyakuzuki
5. Kaitten tetsui – gyakuzuki
RENRAKU WAZA
1. Gyakuzuki chudan – surikomi uramawashigeri jodan – gedan barai – gyakuzuki chudan
2. Mawashigeri jodan – kaitten tetsui jodan – gyakuzuki chudan
3. Surikomi mawashigeri jodan – uchi uke chudan – uraken jodan – surikomi ashibarai –
gyakuzuki chudan
4. Tobikomizuki jodan – gyakuzuki chudan – mawashigeri jodan – shuto soto uke chudan
– kakatogeri jodan
OHYO KUMITE
(No.1 – 8)
KIHON KUMITE
KATA
Pinan Shodan, Pinan Nidan + three (3) elected katas from the following:
JI YU KUMITE
4th dan
KIHON
All the previous techniques
OHYO KUMITE
(No.1 – 8)
KIHON KUMITE
No. 1 – 10 (Ipponme – jupponme)
KATA
Pinan Shodan, Pinan Nidan + four (4) elected katas from the following:
One elected kata performed with one or multiple attackers.

Pinan Nidan
Pinan Shodan
Pinan Sandan
Pinan Yodan
Pinan Godan
Naihanchi
JI YU KUMITE
5th dan
KIHON
All the previous techniques
OHYO KUMITE
(No.1 – 8)
KIHON KUMITE
No. 1 – 10 (Ipponme – jupponme)
KATA
Pinan Shodan, Pinan Nidan + five (5) elected katas from the following:
One elected kata from the above list performed with one or multiple attackers.
PAIR TECHNIQUES (KUMITE)

The aim of practicing the pair techniques is to
- develop the perception of distance (ma-ai) and to learn to perform the techniques from an optimal dis-
tance
- learn to attack efficiently
- learn timing (body movement and technique are simultaneous)
- develop balance
- help to apply the correct body movements learned in kihon with a partner.
ONE STEP SPARRING (IPPON KUMITE)
The aim of Ippon Kumite -training is to

- learn to focus the attacks to correct target
- learn to use real and efficient way of attacking
- to perform technically correct and as fast as possible
- to develop the reaction ability and situation control of the defender in such a way that the defender moves
after the attacker, even though the attacks are prearranged
- learn to move the body away from the attacking line while blocking and to learn to perform the counter
attack from an optimal distance (the principle of minimum dodging) immediately after dodging and block-
ing
Ippon Kumite -techniques are the fundamentals of pairworking. Both parties must pay attention to correct
distance, timing, correct stances and technical perfection.
Ippon Kumite -techniques start from the attention stance from which both parties prepare theirselves by tak-
ing the yoi-stance from the attacker’s initiative.
In chudan uke and jodan uke techniques, the attacker moves to a left forward stance (junzuki hidari
gamae) while the defender stays in yoi-stance.
In maegeri uke, the attacker moves to a left fighting stance (hidari hanmi gamae) and the defender moves
from the attacker’s initiative to either left or right fighting stance (hanmi gamae) depending on which side the
defending is to be performed.
After the performance, both parties slide or step back to a right fighting stance from which both return to at-
tention stance at the same time by pulling the front foot and then return to the starting place and take the yoi-
stance.
Chudan uke no. 1-2

Soto-uke A: Junzuki chudan
D: One moves away from the attacking line with a short slide to the back-left while keeping the
body still facing the attacker. At the same time one performs a right soto-uke block. Immedi-
ately after the block, one grabs the attacker’s right wrist, unbalances him by pulling from the
wrist and performs a maegeri chudan with the front (right) foot. One continues the counter at-
tack by performing a left chudan gyakuzuki while returning the right foot on to the ground.
Uchi-uke A: Junzuki chudan
D: One moves away from the attacking line to the right side of the punch (as seen from the
defenders view) into a shiko-dachi stance without moving the right foot. At the same time one
performs a right uchi-uke block directed along the attackers arm. One counter attacks imme-
diately after the block by performing a right chudan yoko empi while sliding towards the at-
tacker in the shiko-dachi stance.
(Dodging the attack should be done straight backwards and the turning of the body to the left
into shiko-dachi should be done at late as possible.)
Jodan uke 1-4
Jodan uke ipponme (no.1)

A: Junzuki jodan
defenders view) into a shiko-dachi stance without moving the right foot. At the same time one
performs a left haishu-uke (back of the hand) block directed along the attackers arm and a
right kagizuki targeted towards the attacker’s chin. One continues the counter attack by mov-
ing into a right zenkutsu-dachi and at the same time performing a left elbow strike, chudan
mae empi.
(Dodging the attack should be done straight backwards and the turning of the body to the left
into shiko-dachi together with the block and punch should be done at late as possible.)
Jodan uke nihonme (no.2)

A: Junzuki jodan
defenders view) into a shiko-dachi stance without moving the left foot. At the same time one
performs a block with the outside part of the left arm while punching with the left fist targeted
towards the attacker’s chin. One continues the counter attack by moving into a left zenkutsu-
dachi towards the attacker, grabbing his collar with both hands, pulling him strongly and per-
forming a right knee kick, hizageri chudan to the stomach.
(Dodging the attack should be done by turning the body to the right into shiko-dachi together
with the block/punch should be done at late as possible.)
Jodan uke sanbonme (no.3)

A: Junzuki jodan
D: One moves away from the attacking line to the left side of the punch (as seen from the de-
fenders view) into a tsukkomi stance without moving the left foot. At the same time one per-
forms a left nagashizuki jodan. One immediately continues the counter attack by performing a
right roundhouse kick, mawashigeri chudan; the foot is returned to the behind after the kick.
(After dodging, the punch should be performed from a balanced position. While pulling back
the right mawashigeri, it must protect the body by passing in front of it.)
Jodan uke yonhonme (no.4)

A: Junzuki jodan
D: One moves away from the attacking line to down and to the left side of the punch (as seen
from the defenders view) into a left kokutsu-dachi stance. At the same time one performs a
left elbow block, empi uke diagonally to the up/right. One continues the counter attack imme-
diately after blocking by moving into a left shiko-dachi and at the same time performing a left
uraken chudan. One finishes the series by moving into a left zenkutsu-dachi and perfoming a
right haitozuki chudan at the same time.
(Dodging the attack and blocking should be performed sharply and timed together with the
empi uke. The defender should especially pay attention to correct kokutsu-dachi, shiko dachi
and zenkutsu-dachi stances, so that the optimal distance to the attacker remains).
Maegeri uke 1-6
Maegeri uke ipponme (no.1)
A: Hidari hanmi gamae

maegeri chudan
D: Hidari hanmi gamae

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

maegeri chudan
D: Migi hanmi gamae

One steps back and moves away from the attacking line to the left side of the kick (as seen
from the defenders view) and performs a left teisho gedan barai block. The block is directed
along the attacker’s leg in a sweeping motion. One immediately continues the counter attack
by performing a right gyakuzuki chudan. During the gyakuzuki, one protects himself by hold-
ing the side of the left hand (shuto!) against the attacker’s right forearm.
Maegeri uke sanbonme (no.3)

surikomi maegeri chudan

One steps back and moves away from the attacking line to the right side of the kick (as seen
from the defenders view) into a right fighting stance and performs a right teisho gedan barai
block. The block is directed along the attacker’s leg in a sweeping motion. One immediately
continues the counter attack by performing a left gyakuzuki chudan. During the gyakuzuki,
one protects himself by holding the side of the right hand (shuto!) against the attacker’s left
forearm.
Maegeri uke yohonme (no.4)

maegeri chudan

As the attack is coming, one slides slightly to the left and towards the kick. At the same time
one stops the kick in halfway by pressing on the knee with the left arm while performing a right
gyakuzuki chudan.
(The idea is to perform the counter attack in such a way that the hand techniques are simulta-
neous and timed before the attacker’s knee rises to chudan level.)
Maegeri uke gohonme (no.5)

maegeri chudan
D: Migi hanmi gamae

One moves away from the attacking line to the left side of the kick (as seen from the defend-
ers view). At the same time one performs a right gedan barai block. One immediately contin-
ues the counter attack by performing a left gyakuzuki chudan. During the gyakuzuki, one pro-
tects himself by holding the side of the right hand (shuto!) against the attacker’s right forearm.
(The dodging and blocking should be done according to the vertical axis principle while keep-
ing a correct distance to the attacker in order to succeed in the counter attack.)
Maegeri uke ropponme (no.6)

surikomi maegeri chudan

One moves away from the attacking line to the right side of the kick (as seen from the defend-
ers view). At the same time one performs a left gedan barai block. One immediately contin-
ues the counter attack by performing a right gyakuzuki chudan. During the gyakuzuki, one
protects himself by holding the side of the left hand (shuto!) against the attacker’s left forearm.
(The dodging and blocking should be done according to the vertical axis principle while keep-
ing a correct distance to the attacker in order to succeed in the counter attack.)
OHYO KUMITE (SEMI-FREE SPARRING)
Ohyo Kumite is practiced to learn techniques which can be applied in free fighting. Controlling the correct
distance and the defender’s moving are essential in Ohyo Kumite.
Since the attacking targets, directions and way of attacking are prearranged, the defender must not move
before the attack starts. The defender must be ready to counter attack immediately after blocking. The aim of
practicing Ohyo Kumite is to master similar techniques used even in free fighting. It is important to control the
balance and weight shifting and to utilize the whole body.
Other important things to consider while practicing Ohyo Kumite:

- the attacking must always be performed with a battle spirit even though the outcome of the technique is
known.
- one must always be aware of the situation so one must keep a sharp eye on the opponent until the end
(zanshin).
In Ohyo Kumite techniques, from the attacker’s initiative, both parties move to fighting stance straight from
the attention stance.
Ohyo Kumite 1-8
Ohyo Kumite ipponme (no.1)

Junzuki jodan, gyakuzuki chudan, while pulling back the gyakuzuki, the attacker must move
away from the attacking line followed by a left ashibarai and right gyakuzuki chudan.

When the first attack (junzuki) is coming, the defender steps back and blocks the punch with a
left shuto uchi uke directed along the attacker’s arm in a sweeping motion.
(During the first part of the attack, junzuki-gyakuzuki, one tries to shift the opponent’s weight
on to the hind leg in order to make the ashibarai-gyakuzuki part easier).
Ohyo Kumite nihonme (no.2)
A: Migi hanmi gamae

Gyakuzuki jodan on the spot, right surikomi ashibarai and left gyakuzuki chudan.

When the first attack is coming, the defender blocks the punch on the spot with left shuto uchi
uke directed along the attacker’s arm in a sweeping motion.
(During the first attack, one tries to shift the opponent’s weight on to the hind leg in order to
make the surikomi ashibarai-gyakuzuki part easier.)
Ohyo Kumite sanbonme (no.3)

Junzuki jodan - gyakuzuki chudan. When the defender’s counter attack is coming, one slides
under the tobikomizuki towards the opponent and takes him down by lifting up with the left
hand from the opponent’s left ham and directing with the right arm. Immediately after the
takedown, one performs a right uraken jodan from a kneeling position.
D: Migi hanmi gamae

When the first attack is coming, the defender steps back and blocks the punch with left shuto
uchi uke directed along the attacker’s arm in a sweeping motion. One also blocks the other at-
tack (gyakuzuki) with the left hand on the spot.
One counter attacks with a left tobikomizuki jodan.
(During the first part of the attack, junzuki-gyakuzuki, one tries to shift the opponent’s weight
on to the hind leg. After moving the weight, the defender must jump forward while counter at-
tacking. The attacker must move in close to the defender during the counter attack in such a
way that the takedown can be performed as close to the opponent as possible.)
Ohyo Kumite yohonme (no.4)
A: Migi hanmi gamae

One steps forward and performs a right uraken jodan. While pulling back the right hand, one
grabs the opponent’s arm with the left hand and performs a right gyakuzuki chudan. One con-
tinues by grabbing over the opponents neck with the right hand, unbalances him by pulling
downwards and performing a right hizageri chudan. After the kick, one pushes the opponent
downwards and performs a right otoshi empi towards the neck (be careful!).
D: Migi hanmi gamae

One blocks the attacker’s uraken with a right empiuke block.
(During the second part of the attack, the attacker must keep his center of gravity low while
performing the knee kick and cover his lower part of the body with the front leg while perform-
ing the otoshi empi.)
Ohyo Kumite Gohonme (no.5)

Step forward gyakuzuki chudan, surikomi maegeri chudan.

One blocks the gyakuzuki with a right uchi uke directed along the attacker’s arm while step-
ping backwards. One blocks the surikomi maegeri by stepping again backwards and moving
away from the attacking line to the left side of the kick (as seen from the defenders view) into
a left fighting stance and performs a left teisho gedan barai block. One immediately counter
attacks with a right haitozuki chudan followed by a right uraken jodan. One continues the
counter attack by grabbing the opponent's right shoulder with the left hand and at the same
time drops down on the right knee while unbalancing the opponent. One takes down the op-
ponent by rotating to the left, moving the left knee out of the way and lifting up from the oppo-
nent’s right ham with the right hand; the right hand then continues as a shuto to the oppo-
nent’s face.
Ohyo Kumite ropponme (no.6)

Surikomi maegeri chudan, gyakuzuki jodan, surikomi ashibarai, mawashigeri jodan.
One starts the attack by drawing the opponent’s attention to chudan level, from where one
tries to shift the opponent’s weight on to the hind leg with a long right jodan gyakuzuki. At the
same time while pulling back the right fist, one sweeps the opponent’s right leg with the left
foot to unbalance him. One immediately continues the attack with a right jodan mawashigeri.

One evades the first attack (surikomi maegeri chudan) simply by stepping back; one blocks
the other attack (gyakuzuki jodan) with a right shuto uchi uke directed along the attacker’s arm
in a sweeping motion.
Ohyo Kumite nanahonme (no.7)

One performs two consecutive jodan tobikomizukis. When the opponent comes with his coun-
ter attack (maegeri chudan), one moves away from the attacking line to the left side of the kick
(as seen from the defenders view). At the same time one performs a left teisho gedan barai
block. The block is directed along the attacker’s leg in a sweeping motion. One immediately
continues the counter attack by performing a right gyakuzuki chudan (cp. maegeri uke ippon-
me). Immediately after pulling back the gyakuzuki, one jumps behind the opponent and takes
him down by pulling with the right hand from the opponent’s right shoulder and by pressing at
the same time with the inner edge of the right foot on the opponent’s right ham.
One follows the opponent during the takedown and immediately performs a left gyakuzuki jo-
dan.

One blocks both tobikomizukis by performing two right jodan shuto uchi ukes directed along
the attacker’s arm in a sweeping motion while sliding backwards in order to maintain the dis-
tance. As a counter attack one immediately performs a right maegeri chudan.
Ohyo Kumite happonme (no.8)
A: Migi hanmi gamae

One performs a right surikomi ashibarai, followed by a left ashibarai and a right ushirogeri
chudan. While returning the ushirogeri, one turns towards the opponent, pushes his front arm
away to the right with the right arm and unbalances him by using the right knee and performs
a left gykuzuki chudan.

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

Tobikomizuki jodan, gyakuzuki chudan
D: Migi tate seishan dachi

One blocks the tobikomizuki by shifting the body away to the left from the attacking line and
by performing a right nagashi soto uke. When the opponent comes with the gyakuzuki, one
dodges the punch by rotating the body along the vertical axis and blocks the punch by drop-
ping and guiding with the right arm in a relaxed manner. The counter attack is performed at
the same time with the blocking action by performing a left hook punch to chudan level. One
should keep the center of gravity in the middle during the counter attack.
Kihon Kumite nihonme (no.2)

Tobikomizuki jodan, surikomi sokuto chudan

by performing a right nagashi soto uke. When the opponent comes with the surikomi sokuto
chudan, one dodges the kick by shifting the body further to the left and blocks the kick by
dropping and guiding with a right gedan barai. One dodges the kick in such a way that after
shifting the body to the left, one is almost facing away from the opponent. One counter attacks
by moving the right foot near the opponent’s right foot and unbalances him with the right knee
while turning the body towards him. At the same time one performs a right haito and a left
shuto to the opponent’s back.
Kihon Kumite sanbonme (no.3)

Tobikomizuki jodan, followed by turning towards the opponent and adjusting the distance and
finished with a left maegeri chudan.
D: One blocks the tobikomizuki by shifting the body away to the left from the attacking line and
by performing a right nagashi soto uke. When the opponent comes with the maegeri, one
times his movement and enters with the body before the knee of the opponent’s kicking leg
rises to chudan level while at the same time blocking the kick by hitting the inside of the knee
with the left fist and performing a right hook punch to chudan level in zenkutsu dachi.
Kihon Kumite yohonme (no.4)
A: Hidari tate seishan dachi

Tobikomizuki jodan, gyakuzuki jodan
dodges the punch by rotating the body along the vertical axis and blocks the punch by per-
forming a left shuto uchi uke directed along the opponent’s arm in a sweeping motion. After
the dodging, one’s weight should be mostly on the left foot. One immediately moves in closer
and counter attacks by performing a right hook punch to the opponent’s right side in a
zenkutsu dachi; at the same time one presses the opponent’s right arm with the left hand in
order to make the counter attack easier.
Kihon Kumite gohonme (no.5)

Tobikomizuki jodan, gyakuzuki chudan
shifts the body slightly backwards and turns the body towards the opponent. At the same time
one performs a block by dropping the right arm on the opponent’s arm from above. After the
block, one grabs the opponent’s right wrist with the left hand and performs a right haito di-
rected to the opponent’s nose. One continues the counter attack by performing a right chudan
yoko empi in a shiko dachi, followed by grabbing the opponent’s wrist also with the other
hand,followed by taking him down by turning the body to the left and performing a joint lock on
the opponent’s wrist and arm. One presses the opponent’s right elbow/arm with the right knee
and performs a right jodan shuto uchi.
Kihon Kumite ropponme (no.6)

Tobikomizuki jodan, surikomi sokuto chudan, gyakuzuki jodan

by performing a right nagashi soto uke. When the opponent comes with the surikomi sokuto
chudan, one dodges the kick by shifting the body further to the left and blocks the kick by
dropping and guiding with a right gedan barai. One dodges the kick in such a way that after
shifting the body to the left, one is almost facing away from the opponent. When the opponent
comes with the gyakuzuki, one dodges the punch by rotating the body along the vertical axis
and blocks the punch by guiding with the backside of the right hand. The counter attack is per-
formed at the same time with the blocking action by performing a left ippon-ken punch to the
opponent’s right armpit.
Kihon Kumite nanahonme (no.7)

Tobikomizuki jodan, followed by adjusting the distance and finished with a left maegeri jodan.

by performing a right nagashi soto uke. When the opponent comes with the maegeri, one en-
ters with the body and dodges the kick. At the same time one blocks the kick by dropping and
guiding with the left arm between the body and the opponent’s leg and stops him by perform-
ing a right shuto on his collar bone.
Kihon Kumite happonme (no.8)

Tobikomizuki jodan (breast level), gyakuzuki jodan.

One blocks the tobikomizuki by shifting the body away to the right from the attacking line and
by performing a right nagashi uchi uke. When the opponent comes with the gyakuzuki, one
sinks down into a low shiko dachi while performing a right empi uke directed upwards. At the
same time one shifts his weight slightly more on the left foot. One counter attacks by perform-
ing a right ippon-ken to the opponent’s right hip joint followed by a right yoko empi chudan
while moving closer and unbalancing him with the right knee. After the counter attack and
right before leaving the opponent, one immobilizes the opponent’s right arm by pressing on
the arm with the edges of both hands.
Kihon Kumite kyuhonme (no.9)

Tobikomizuki jodan (breast level), gyakuzuki chudan

by performing a right nagashi uchi uke. When the opponent comes with the gyakuzuki, one
dodges the punch by rotating the body along the vertical axis and blocks the punch by guiding
along the opponent’s arm with the backside of the right hand. The counter attack is performed
at the same time with the blocking action by performing a left hook punch to the opponent’s
chest.
Kihon Kumite jupponme (no.10)

Tobikomizuki jodan, gyakuzuki jodan

by performing a right nagashi shuto uchi uke.When the opponent comes with the gyakuzuki,
one enters with the body and performs a right nagashi soto uke at the same time. One contin-
ues the counter attack by grabbing the opponent’s jacket near the left shoulder with the right
hand while striking with the right elbow at the same time. One then performs a left haito tar-
geted towards the groin. One prepares to throw the opponent by stepping forward and across
with the left foot and turning the body so that it’s facing away from the opponent while still
holding with the right hand. One then performs the throw by sinking down on to the left knee,
pulling with the right hand and lifting up from the opponent’s left leg with the left hand. During
the throw, one moves the body slightly backwards and then releases both grips.
NOTES

Wadoryu Grading Syllabus: 5 Kyu - 5 Dan

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Wadoryu Grading Syllabus: 5 Kyu - 5 Dan

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WADORYU

BEGIN YEL- OR- GREE BLUE BROWN BLACK FKF time

5th kyu (yellow)

TACHIKATA (stance) The grading is done after a 3-month begin-

RENRAKU WAZA (combination technique)

UKEMI (rolling / breakfall technique)

GOSHIN JUTSU (self-defence technique)

4th kyu (orange)

TACHIKATA At least about 3-4 months since the previ-

4th kyu (orange)

Attended training sessions, gray squares = minimum

3rd kyu (green)

TACHIKATA At least 6 months since the previous grad-

3rd kyu (green)

WORKING AS AN ASSISTANT INSTRUCTOR

Working as an assistant instructor includes continuous adjusting of the techniques and

Attended training sessions, gray squares = minimum

2nd kyu (blue)

UKE At least 12 months since the previous grad-

2nd kyu (blue)

WORKING AS AN INSTRUCTOR AND TRAINING

- agree on the instruction in the instructor meetings

Attended training sessions, gray squares = minimum

1st kyu (brown)

UKE At least 12 months since the previous grad-

1st dan (black)

UKE At least 12 months since the previous grad-

1. Gedan barai – gyakuzuki

One elected kata performed with one or multiple attackers.

PAIR TECHNIQUES (KUMITE)

ONE STEP SPARRING (IPPON KUMITE)

The aim of Ippon Kumite -training is to

Chudan uke no. 1-2

Uchi-uke A: Junzuki chudan

Jodan uke 1-4

Jodan uke ipponme (no.1)

Jodan uke nihonme (no.2)

Jodan uke sanbonme (no.3)

Jodan uke yonhonme (no.4)

Maegeri uke 1-6

Maegeri uke ipponme (no.1)

A: Hidari hanmi gamae

D: Hidari hanmi gamae

Maegeri uke nihonme (no.2)

A: Hidari hanmi gamae

D: Migi hanmi gamae

Maegeri uke sanbonme (no.3)

A: Hidari hanmi gamae

D: Hidari hanmi gamae

Maegeri uke yohonme (no.4)

A: Hidari hanmi gamae

D: Hidari hanmi gamae

Maegeri uke gohonme (no.5)

A: Hidari hanmi gamae

D: Migi hanmi gamae

Maegeri uke ropponme (no.6)

A: Hidari hanmi gamae

D: Hidari hanmi gamae

OHYO KUMITE (SEMI-FREE SPARRING)

Other important things to consider while practicing Ohyo Kumite:

Ohyo Kumite 1-8

Ohyo Kumite ipponme (no.1)

A: Hidari hanmi gamae