ENSHIN KARATE STUDENT E BOOK PRODUCED BY SENSEI DINO KARDAS

Transcription

1 ENSHIN KARATE STUDENT E BOOK PRODUCED BY SENSEI DINO KARDAS

2 Table of Contents Introduction...2 Kancho Joko Ninomiya...2 The meaning of Enshin Kaikan...3 The Enshin Logo...3 Meaning of OSU...3 Dojo Etiquette The DoGI and Obi (Uniform and Belt)...7 How to tie the Enshin Obi (Belt) Enshin Karate Ranking System...10 Enshin Karate Vocabulary List What is Sabaki?...13 Sabaki Pendulum Motion...14 Positioning...15 Grabbing Techniques...16 Sabaki Takedowns Heavy Bag Training...19 Sabaki Against Multiple Opponents...19 Enshin s Armguard Training...20 The Kata of Enshin Karate...20 Shiro Obi No Kata (White Belt Kata)...21 Enshin Karate s World Sabaki Challenge Sabaki Challenge Rules Training for a Sabaki Challenge Enshin Dojo Kun...25 Enshin Resource Material...26

3 INTRODUCTION Welcome to the Australian Headquarters of Enshin Karate. You have joined a martial arts school dedicated to excellence. Our goal is to provide you with the highest quality karate training and to help you achieve your goals. Kancho Joko Ninomiya... Founder of Enshin Karate Long before Kancho Ninomiya arrived in the United States in 1974, he had a dream. From the days in his youth when he first began training, Kancho Ninomiya wanted to bring the spirit and technique of real karate to the world. After devoting himself for many years to reaching the top in competitive karate, Kancho Ninomiya won the All Japan Tournament in As one of Japan's most popular champions, he realised that his life in karate was leading him beyond the mat of tournament competition. He returned to the U.S. and rededicated himself to his art, developing and teaching the strategy and technique he believed in. In an effort to bring authentic fighting karate to the United States, Kancho Ninomiya established the Sabaki Challenge, which has become one of the world's premier karate tournaments. He felt that his training for the All Japan helped him grow stronger both physically and mentally, so he wanted to offer this opportunity to other young martial artists. Today, Kancho Ninomiya is the Master of Enshin Karate and its growing network of schools throughout the United States and the world. He feels a strong personal commitment to maintaining a close organisation and offering his logical, practical system of karate to anyone who is interested in what it has to offer. Kancho Joko Ninomiya developed Enshin s unique fighting strategy drawing upon his years of tournament competition and real life confrontations. Enshin s Circular strategy known as The Sabaki Method makes use of the opponent's power against them to gain an advantage by breaking the opponent's balance and creating a strong blind spot position. Kancho Joko Ninomiya s Sabaki Method not only embodies the true spirit and power of karate; it also employs a method of strategy which is rarely seen in other forms of martial arts, and is the essence of his Enshin Karate.

4 THE MEANING OF ENSHIN KAIKAN In Japanese, Enshin means heart of the circle and Kaikan means group or organisation. Kancho chose Enshin Kaikan because he wanted to give the sense of people coming together in a circle as a group or family. The heart character was especially important, because Kancho wanted all the students of Enshin Karate to meet one another in the dojo not as adversaries, but more as family members ready to help one another. The circle also represented the circular movements that take a defender around the thrust of the attack, and enable them to counter from the opponent s blind side. There was also another meaning of the circle En in Enshin; the En character in Japanese also suggests an incomplete circle. Finally, Kancho suggests that karate is a journey whose goal is never reached; a process and not an end that is most important. Enshin Kaikan captures these inner and outer qualities of what karate has come to mean for Kancho Ninomiya. THE ENSHIN LOGO The Enshin logo was designed to reflect a deeper meaning and express Kancho Joko Ninomiya s philosophy of Karate. A circle with a fist in the centre was chosen to signify the power and spirit of Karate. The wide circle surrounding the fist has a ring of shading moving gradually from light to dark, and this has several meanings. First, it represents the circular progress of training moving from white to black belt and then starting over again. This is a familiar notion among martial artists. Attaining a black belt means that one is starting over and moving deeper into the discipline of karate. That is why the first degree is called Shodan. Literally, it means beginning black belt. The Shading in the Enshin logo also symbolises the newness of mind that a student should have every time he or she steps onto the Dojo floor. It means that even after black belt, the student should approach their karate with freshness and spontaneity. It means the student should clear their mind and make it new, as if it were their first time in the Dojo Soshin. MEANING OF OSU While an exact literal translation of this Japanese word is difficult, the closest definition is push and be patient. This word is used to answer the affirmative (or yes in class), but the true meaning goes much deeper. The idea behind this word is to express the core value of training in karate: to push ourselves and one another to become stronger, and to be patient because the process of developing skill at anything takes time and effort. The strength that a person develops in training is not just physical; it s also mental. In many ways, karate is a metaphor for life with all of its struggles, disappointments, and victories. To say Osu means to never give up, and to dig deep within to meet the challenges we face. Osu is at the core of the practice of Enshin karate.

5 DOJO ETIQUETTE Understanding and following proper etiquette is essential, as it signifies your commitment and appreciation for an important aspect of Japanese culture that you have chosen to practice. Dojo etiquette is not a superficial attempt to blindly copy the formal politeness of Japanese culture. Observation of etiquette indicates your sincerity and willingness to learn, and your trust and respect for yourself, your fellow students, your Dojo and your instructors. Whether you re a beginner or an advanced student, you are equally responsible for following these simple and reasonable Dojo rules. If you re a beginner, think of them as the basic building blocks of your journey into the rich world of karate as a path of self exploration. If you ve already been doing it a while, think of these as a vital aspect of your personal development and technical perfection. Never lose sight of what karate truly is it has no place for arrogance or ignorance. Visitors are also expected to observe these guidelines for conduct. It is your responsibility to educate anyone you may bring to the Dojo. 1. Becoming and Being an Enshin Karate Student Students come from various cultures, backgrounds and walks of life. They have various life experiences and personalities. They also have certain personal goals that they are trying to achieve. When one becomes our student, that person takes on a whole new level of responsibility. Keeping an open mind, being humble and open to our training methods and approaches is a pre requisite for being part of our class. Dojo membership offers a student not a right, but an opportunity and a privilege to train there. 2. Punctuality and Courtesy It is your obligation to respect your fellow students, your Dojo and your instructors. Follow all the rules in general, and specifically, follow the class schedule. Come to class a few minutes early (if not earlier) so you can change and stretch. Once you arrive at the Dojo, use your time wisely. Change into your uniform and to use the bathroom well in advance, so you are ready for the class on time. Say OSU! as you enter the Dojo through the front door, and make sure you greet your instructors first. Always greet your fellow students and other people that may be at the Dojo at the time, and remember to acknowledge instructors and students as you or they leave for the day. You may bring your training gear and place it neatly downstairs on the shelving provided. Keep the Dojo clean. This is a sacred place where you come to become a better person and should be treated as such. Remember to immediately throw away your rubbish. Keep the bathroom clean and let an instructor know if we have run out of toilet paper. Keep your personal effects in a neat order in the changing area. Throw away any rubbish you may spot that may have been left by another person. Maintain the training area in a good clean order. It is a great sign of respect, care and responsibility when a student cleans the Dojo. Helping to clean the Dojo is a part of a student s training. Put out any cigarettes, dispose of chewing gum, turn off radios, and stop any other distracting practices that might interfere with training before you enter the Dojo. Do not smoke or do anything inside or in front of the Dojo that simple common sense suggests may be inappropriate near children and in general. If there is an earlier class still in progress, respectfully keep your voice and noise level low not to interfere with instruction. You may step on the training mat only after a previous class has been dismissed. It is a good idea to stretch before class, but also try to sit in quiet meditation for a few minutes before class.

6 3. Training / Class Rules Bowing is an essential aspect of the Japanese culture that signifies respect and acknowledgment. Bowing is the utmost show of trust and respect. Without exception, bow to those senior to you, and bow to your peers. Bow facing the mat whenever you enter or exit the class or the mat, bow when you get a new partner for any exercise, and again when you finish that exercise. Bow when Sensei enters or exits the Dojo or the mat. Always say OSU! with an appropriate degree of vocal prominence when you bow. Run into position when called to line up but don t run in front of a senior student cross them from behind and around. If you have to temporarily leave the class with the instructor s permission, enter the class quietly, kneel down on the mat near the entrance and wait until the instructor acknowledges you. Then bow while still kneeling and run back to your spot. Be the least disruptive you can be. If you ever need to leave class early, let the instructor know ahead of time. When the time comes, do not disrupt the class and bow on your way out. Showing spirit is essential to training and is done through personal effort and Kiai ing. A loud Kiai is the perfect display of powerful spirit. The real purpose of the Kiai is to release energy and relax your body muscles so that the technique is powerful and sharp. Don t be afraid or ashamed to Kiai loud, as this displays good spirit and will motivate everyone in the class. Never do it half heartedly. Movements performed at half speed are typically not accompanied by a Kiai. Movements at fullspeed, however, are always performed with a loud Kiai. Kiai on every 10 th technique of any set, and definitely when Sensei asks you to! Asking questions and talking may only be done when appropriate. Focus on what is being taught and you will be surprised how much you can learn, even if you think that you cannot fully grasp the techniques being shown. Make a mental note of your questions and remember to approach the instructors after class. Bow and say OSU! before asking a question. Stand in the ready stance during verbal instruction and explanation not in a relaxed position of choice. Do not argue or try to excuse yourself for a mistake or a deficiency that your instructor tells you about. Karate is not about being embarrassed about your mistakes, it s about taking pride in your achievements. Take in all that you re being told, practice it on your own, then return with questions if you have them. More often than not, you will find that everything makes sense once you put effort into it! Bow after receiving guidance and thank your teacher. Say OSU! and thank you. Attention and focus need to be maintained throughout an entire class. Do not fidget, turn around, look around, talk with your classmates, yawn, fix your clothing excessively, look at yourselves in the mirror during class. Face and pay full attention to your instructor as he or she is talking to you and/or the rest of the class. Mental and physical preparation is essential as well. Make sure your Gi is clean and straight, your finger and toe nails are trim, and that you ve removed any items of jewellery. Wear the Gi jacket with the left side outermost and tie the belt in a proper knot. Be the positive example that you want your classmates to follow. Put all daily frustrations and excitements aside, and you ll find that training will help you relax and focus your thoughts. When the instructor determines that it s time to start, stop or change techniques, the instructor will clap, announce it verbally, or otherwise indicate it. At that time, bow to your partner and follow further instructions. Do not stop in the middle of training unless there is an emergency and an instructor s permission has been granted. Never choose training equipment of your own your instructor always specifies which kind you need to use.

7 Physical discomfort and injuries tend to slow training down. Listen to your body and act properly. Remember, your body should respond to your mind, and your mind, to your spirit. Don t make unnecessary verbal or non verbal displays of fatigue, discomfort, discontent, or pain. If you have an injury, make sure you are in good shape to train before you decide to do so. Cover any cuts that you incur prior to, or occasionally during class. Make sure to keep a small stash of your own supply of sports tape, Band Aids, and other basic first aid items in your training bag. Sitting/laying down on the mat, leaning against a wall, foul language, and other such acts are not tolerated. Never shout, curse, or become angry at the Dojo. With an instructor s permission, step to the side if you are not feeling well. Pushing yourself is definitely a show of good motivation, but doing so to a point of injury is not proper etiquette. Always report any injury to the instructor. Always try your best for your own benefit, but also out of respect for your training partner, no matter the rank. When facing lower level students, show spirit and practice good control. When facing your peers or higher level students, practice good focus and timing. Follow the count. Part of your practice is to react to it as fast as possible, the same way you would to an opponent s movements. Racing the instructor s count confuses your classmates and is poor training for you. Reacting to the count too slowly hurts your training and holds you back. If the instructor stops the class to provide explanation or clarification concerning a technique, move to a place that is safely out of the way and observe while sitting in Seiza or standing in a ready stance. After the correction, bow to the instructor, then to your partner, and resume practice. Understanding and respecting the ranking seniority system is all about responsibility, not about privileges. As you gain more experience and skill and move up the ranks, consider it your duty to be a role model for those that follow. It rests upon you to show others the right way. Show proper etiquette others expect you to do the same. Without following proper etiquette a student will not be able to be part of our Dojo. We always follow the same formal sequence of steps at the beginning or end of any class. Listen for the commands from the Sensei or a Senpai at the top of the line. At the command to line up, run to the end of the line which will form facing the front of the Dojo mat. Stand next to the other students following the ranking order, shoulder to shoulder, in the ready stance. The line of students will form, with the beginners on the left side and the advanced students to your right, facing front. At the command Seiza, kneel down one by one, after a person to your right. Place the right knee on the floor, then the left. This is based on Enshin fighting stance where the left foot is in front. Sit on your feet with the left foot overlapping the right foot. Maintain a nice posture, back straight, head straight, shoulders relaxed, looking straight forward. Rest your hands (forming a closed fist) on each respective thigh. At the next command, mokuso, close your eye, draw a deep breath and focus your thoughts. This is a time to meditate about the instruction you will receive or that you have just received. Breathe through your nose and let the air fill your chest and stomach, and then exhale slowly through the mouth. At the command mokuso yame open your eyes. At the last commands Kancho ni rei, Sensei ni rei, Senpai ni rei, and otagai ni rei, lean forward, place your fists on the ground in front of you and bow respectively to acknowledge Kancho, your Sensei, senior students and all fellow students. At the signal of the instructor to stand up, wait until the person to your right has risen before you quickly get up from the kneeling position. At the end of the class, we also recite the Dojo Kun before meditation. The instructor or a senior student will recite the Dojo Kun, line by line, allowing time for the class to repeat it out loud in unison. Traditionally, the line entire class shakes hands following the order starting with the Sensei.

8 THE DOGI AND OBI (UNIFORM AND BELT) The karate Dogi or Gi is the outfit worn for karate training. It consists of a jacket (uwagi) and trousers (zubon) made of white cotton or canvas. There is also a belt (obi), and the colour of this belt indicates the rank of the student according to the standard ranking system adopted in Enshin Karate. The ten lower ranks (mudansha) of Kyu or nonblack belt holders are divided into the following colours: white, orange, blue, yellow, green and brown. The upper ten ranks (yudansha) of Dan have the holders wearing the black belt. Although one washes their Gi, the belt is never washed. Every class taken, every drop of sweat, every little tear or abrasion is part of what goes into each student's unique experience. It is something to be remembered, but not clung to. No experience is washed away the belt must tell its own story. Black belts may be embroidered with the holder's name, rank, and the name of the Enshin Kaikan organisation at the ends of it. HOW TO FOLD THE ENSHIN GI (UNIFORM) 1. Align the hem of the jacket as in the picture 2. The sleeves of the jacket are folded inside and straighten it out. The pants are folded Do the same on both sides and straighten. neatly along the vertical. 3. Place the pants in the centre of the jacket 4. Fold up the hem of the jacket with and fold the shoulders, left and right, so the pants, and fold again into an even that they are in line with the waist. parcel. 5. Place Gi neatly in Enshin Karate bag

9 HOW TO TIE THE ENSHIN OBI (BELT) 1. Fold the obi in half with both ends of the same length to locate its centre. Centre your obi on your stomach with the label on your left. Place the centre of the obi flat across your stomach with both ends hanging down toward the floor. 2. Wrap your obi around your waist. Keep the centre of your obi flat against your stomach with both ends of equal length. 3. Cross your obi behind your back. After the ends cross in the middle of your back, wrap them across to the opposite sides. Remember to keep the obi flat against your body without letting it twist anywhere. 4. Smooth your obi around your waist. Now wrap both ends of your obi around the sides and return to your front again. Run your fingers along the obi all the way around, smoothing it so it s doubled up and lies flat without any twists. The obi should lie flat against your back and sides as if it were a single belt made of two layers. 5. Cross your obi on your stomach. Keeping the obi flat and doubled up, wrap both sides around front to cross on your stomach. The left side will be the inside layer laying flat against your stomach. The right side will be the outside layer laying flat against the layer beneath it. Where the obi crosses in the middle of your stomach, it will now be tripled up. Keep everything flat, as if it were a single belt with three layers on your stomach.

10 6. Wrap the outer layer under the others. Wrap the end that originates on your right side under the other two layers against your stomach, and pull it straight up and out the top of your obi. 7. Pull the two ends diagonally apart to tighten your obi around your waist. 8. Take the end of your obi that is coming out of the top left and bend it down over to the right side. Take the end of your obi that is coming out of the bottom right and pull it down to the centre. 9. Loop the bottom end around the top end. Take the end coming out the bottom and loop it under the other end, then up, over, and back down through the loop it forms with the rest of the obi against your waist. If necessary, adjust it to make both ends the same length, and then pull the ends to tighten the knot. Finished. The knot will look like an arrow with a triangle pointing to your right. Both ends will be the same length with your Kyu level stripes (if any) on your right side

11 ENSHIN KARATE: RANKING SYSTEM Students in Enshin Karate are promoted on a regular basis in order to provide them with a sense of progression. Promotion tests are held 3 times per year. The Enshin Colour System is as follows: NO RANK STARTED: / / 10 TH KYU Attained: / / 9 TH KYU Attained: / / 8 TH KYU Attained: / / 7 TH KYU Attained: / / 6 TH KYU Attained: / / 5 TH KYU Attained: / / 4 TH KYU Attained: / / 3 RD KYU Attained: / / 2 ND KYU Attained: / / 1 ST KYU Attained: / / SHODAN Attained: / / The belt system exists to give students a visual marker for their progress. While the belt system helps students to set goals in training, the student who does not look beyond the belt and deepen their reasons for training does not understand true karate.

12 PUNCHES & STRIKES seiken chudan zuki forefist middle punch seiken jodan zuki forefist upper punch seiken ago uchi forefist chin strike seiken shita zuki forefist under punch uraken sayu uchi backhand side strike uraken hizo uchi backhand liver strike uraken mawashi uchi backhand roundhouse strike hiji uchi elbow strike hiji age uchi hiji otoshi uchi shuto sakotsu uchi shuto uchi oroshi strike rising elbow strike descending elbow strike knifehand strike to collarbone descending knifehand KICKS mae keage mae geri mawashi geri hiza geri kinteki geri yoko keage yoko geri kansetsu geri straight front high kick front kick roundhouse kick knee kick groin kick side high kick side kick joint kick sankaku geri triangle kick ushiro geri back kick ushiro mawashi kake geri spinning back hook kick kakato geri heel kick kake geri hook kick uchimomo geri inside thigh kick kakato otoshi geri axe kick BLOCKS AND PARRIES jodan uke upper block chudan soto nagashi middle outside parry gedan barai lower parry hiki mawashi pull around (w/two hands) hiki kuzushi pull off balance (w/one hand) shuto uke kake uke sune uke hiji hiza uke block) ashidome hikkake jodan kake oroshi knife edge block hook and grab shin block elbow knee block (double foot stop leg hook block upper hooking block TECHNIQUES zuki uchi uke nagashi barai hiki keage keri nihon zuki oi zuki gyaku zuki punch strike block parry parry pull straight high kick kick double punch step & punch with front hand step & reverse punch oi geri sanbon zuki kerikomi tsukikomi move in and kick triple punch driving through with kick driving punch

13 WEAPONS Hands: seiken uraken hiji forefist backhand elbow shuto nukite shotei tettsui kote knifehand spearhand palm heel fist edge forearm Feet: chusoku haisoku sokuto hiza ball of foot instep knife edge of foot knee kakato teisoku heel arch STANCES keri no kamae kokutsu dachi kick stance back leaning stance yoi dachi sanchin dachi zenkutsu dachi kiba dachi ready stance pigeon toed stance front leaning stance horseback stance COMMANDS yoi kamaete naotte yame mawatte kiai irete mokuso mokuso yame sensei ni rei sempai ni rei otagai ni rei hajime ready take your stance return to ready stance stop, finish turn put energy into technique meditation end of meditation bow to teacher bow to your senior bow to each other begin POSITIONS soto sayu gyaku ushiro outside both sides reverse back uchi migi hidari hanmi tobi yonju go do inside right left half body jumping or flying 45 degree BELT COLORS shiro obiao obi kiiro obi midori obi cha obi kuro obi white belt blue belt yellow belt green belt brown belt black belt

14 MISCELLANEOUS TECHNIQUES shinkokyu kyushu silent breathing draw in absorbing impact ibuki mikiri todome kime hiki taoshi iremi ushiro mawari seika tanden breathing with sound judging distance finish off finish off pull down body moving in turning backwards body between groin& navel NUMBERS ichi ni san shi go roku shichi hachi ku ju niju one two three four five six seven eight nine ten twenty sanju yonju goju rokuju nanaju hachiju kyuju hyaku thirty forty fifty sixty seventy eighty ninety one hundred SWEEPS & THROWS ashi barai ura nage maki komi nage omote nage cutting sweep back throw rolling throw front throw jikuashi gari tsurikomi nage tai otoshi ippon zeoi nage soto gake jikuashi gake ashitori ko uchi gari sweep to supporting leg lifting spinning throw body drop throw one arm shoulder throw outside hook supporting leg hook picking up leg small inside sweep

15 WHAT IS SABAKI? The traditional way of defending against an oncoming attack was to stand solid and block and hope that you could punch or kick your opponent before you got hit again. This was straight line fighting, where it seems the most important thing was to hit first, and the result was more important than the process. This strategy is fine if you are quick and powerful. But still, it s not a very logical way to deal with a confrontation, because you d always take punishment. Your body would always be directly in front of your opponent. How can anyone fight intelligently without first considering their position? Position is critical, yet many fighters give no thought to the vital principle. Kancho Joko Ninomiya developed Enshin s unique fighting method drawing upon his years of tournament competition and real life confrontations. Enshin s Circular method known as The Sabaki Method makes use of the opponent s power against them to gain an advantage by breaking the opponents balance and creating a strong blind spot position. Kancho Joko Ninomiya s Sabaki Method not only embodies the true spirit and power of karate; it employs a method of strategy, which is rarely seen in other forms of martial arts, and is the essence of his Enshin Karate. Sabaki is the transitional movement that occurs when a defender blocks and moves out of the line of the attack into a position from which he can freely and most effectively control his opponent. This position is always to the side and back of the opponent. The opponent can't reach across his body to strike you, and the opponent can t see you with both eyes to tell where your attack is coming from. You are in the best tactical position from which to counter. The fighting combinations derived from the Enshin s Sabaki Method are not only quick and powerful; they re almost limitless.

16 SABAKI S PENDULUM MOTION Enshin s Sabaki method uses a pendulum type body action to provide defence and offence in one continuous rhythmic motion. The Advantages of using pendulum type motion are: 1: Takes you to the blind spot 2: Gives you control of your opponent 3: Creates momentum for your 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. A Pendulum requires a fixed support to which the moving object is connected. The pendulum action of Kancho Ninomiya s Sabaki method is no different. This means the Enshin practitioner moves outside the attacker s lead shoulder; they establish a vertical axis with their grabbing hand and pivot foot. As the Enshin practitioner steps to the outside of the attacker, they grab the sleeve and let their front foot pivot as their momentum swings out there back foot in a natural circular motion. Think of the way a child on a swing kicks their legs to gain thrust and height. In Enshin s Sabaki Method, the parry and circular movement to the outside of an attack releases power in the front arm while the rear arm and leg store energy for the counter attack. The Enshin practitioner swings out on the parry, and then swings in on the counterattack. Great power and control can be gained from this simple, yet very effective principle.

17 POSITIONING The most critical aspect when applying Sabaki method of fighting is position. As a defender, your distance and position in relation to your opponent will determine your counterattack. Positioning means not only moving out of the way of an attack, but also being aware of distance and using timing appropriate for each distance short, middle and long. Distance is not a function of where you start in relation to your opponent when you square off to fight; it is determined by where you find yourself at the end of the opponent s attack when you are ready to counter. You should always decide the distance best suited for your counterattack and then move accordingly. Positioning is useful not only for aversion but to lead the opponent s momentum into to the right position for you to gain the advantage. Against any attack, you must instantly choose the best possible way to put yourself in an advantageous position to launch an effective counterattack. The most efficient way to achieve this is moving into what is known to Enshin practitioners as the Blind Spot. The term blind spot refers to the area to the back and side of the opponent, where visibility is is limited and his offensive weapons are few. When you are in your opponent s blind spot, you are protected from the opponents follow up attacks, as well as being in a good position to keep your opponent off balance as you counter attack. If you fail to take the blind spot position, you gain no advantage and the confrontation remains equal. To achieve the blind spot, Kancho Joko Ninomiya s Sabaki method is patterned on moving to one of four basic strategic positions. Positions one and two are applied when your opponent s stance is balanced and you apply an offensive or forward Sabaki. Position three and four are applied when the opponent drives forward with full momentum and you have to yield to gain a superior position.

18 GRABBING TECHNIQUES To maintain the blind spot position and keep the opponent off balance, the use of grabbing techniques is employed. These consist of moving to the outside and pulling the lead arm forward in a direction that continues the opponent s momentum in a circular orbit around the defender, where a powerful counterattack can be delivered. Enshin karate uses two types of grabbing techniques: Hiki kuzushi (pull of balance with one hand), and Hiki Mawashi (pull around with two hands). Deciding on what grabbing technique to use depends on the distance between you and your opponent. At long range, Hiki Kuzushi would be used, and is very effective to set up a counterattack using roundhouse kicks or sweeping techniques. At close distance, you can gain further control by immediately following Hiki Kazushi with a hooking action to the back of the opponent s neck. Using the knife edge of your opposite hand, this is known as Hiki Mawashi. Hiki Mawashi is a very effective method of neutralizing the opponents follow up attacks, and positions the defender to launch effective knee strikes or throwing techniques.

19 SABAKI TAKEDOWNS To add a more effective and complete dimension to the Sabaki Method, Kancho Joko Ninomiya has incorporated many takedown techniques to add to the arsenal of kicks and punches we normally associate with karate. Kancho Joko Ninomiya s many years of experience in Judo has enabled him to incorporate very efficient throwing techniques to make his Enshin Karate a more complete system. Some of the throwing Techniques used in Enshin Karate are: Forward rolling through (Makikomi Nage) Makikomi Nage is applied when the attacker s weight and momentum are moving forward, and is redirected by the defender in a spiralling action to the ground. Front throw (Omote Nage) Omote Nage is most effective in combination with sweeps or throws as a finishing technique to bring your opponent to the floor. After applying a combination that drives your opponent s upper body forward, such as an inside thigh kick or knee kick, Omoto Nage adds to his momentum and easily brings the opponent down. Back throw (Ura Nage) Ura Nage is a very versatile throw. It s is applied when the opponent s momentum is moving backwards. Foot Sweep (Ashi Barai) Ashi barai is better suited to the one handed grab (Hiki Kuzushi). It s especially effective when your opponent is trying to pull away from your grasp, or as a follow up to a high roundhouse kick when your opponent is not well grounded.

20 Inside Thigh kick (Uchi Momo Geri) The inside thigh kick provides the Enshin practitioner an immediate counterattack or set up technique from a frontal position that draws the opponent forward and off balance. Enshin karate s method of executing an inside thigh kick is quite different to the conventional application, where basically a low roundhouse kick is directed into the inside of the opponents thigh. Hiki Mawashi (two handed grabbing) can be used in conjunction with an inside thigh kick to enable a pulling action to the opponents head in a forward direction, as they drive a shin kick to the inside of the opponent s thigh. (You can also target the lead ankle with the top of your foot, driving it backward and to the outside). By forcing the opponents upper and lower body in opposite direction at the same time, you can easily up end your opponent. Back Of Knee Joint Kick (Teisoku Kansetsu Geri) Teisoku Kansetsu Geri is executed when a full backside position is created. From there, you can take your opponent down quite easily with a joint kick to the back of the knee. When standing directly behind your opponent, grab both of the opponent s shoulders. Use a pulling action on your opponent s upper body as you kick out their supporting leg. Lifting Spinning Throw (Tsurikomi Nage) Tsurikomi Nage is especially effective when countering your opponent s Sabaki. Jikuashi Gake Jikuashi Gake is very effective when applied to front kicks or back kick attacks. As the opponent attacks, use a lower parry and grab the leg of the opponent s pants with the same hand. As you lift the opponents kicking leg, hook the front of the opponent s supporting knee and take them to the ground.

21 ENSHIN S HEAVY BAG TRAINING Kancho Joko Ninomiya teaches his students to imagine the heavy bag is an opponent with arms and legs. The more realistic your use of the heavy bag becomes, the more precise your timing and technique will be. Most fighters training on the heavy bag do a good job of targeting their punches and kicks, but lack visualisation of oncoming attacks. The key to making the most of the heavy bag is visualisation. Try to picture in coming attacks in your mind while using the heavy bag and practice counter strikes and the relevant positioning for attacks. Your body and mind must work together. It is always a good idea to use the heavy bag s swinging action to simulate an opponent s movement. Instead of stabilising the bag after each combination and breaking your rhythm, fit your techniques to the bags natural movement. Kancho Ninomiya prefers to train with a bag that is at least five feet high. This allows the practice of low, middle, and high techniques at the same time. It is also a good idea to draw some thick lines around the heavy bag to identify these three heights. When practicing new combinations, it s best to train at a manageable speed. It is also important to stay in rhythm and work your upper and lower body together. But the most important factor when practising on a heavy bag is the ability to visualise an opponent and target your techniques as accurately as possible. To practice grabbing techniques, the Enshin practitioner will tie a spare belt around the heavy bag at about shoulder height to simulate an opponent s arms and shoulders. The Enshin practitioner will grab the belt as they move to the outside to set up knee kicks, roundhouse kicks and foot sweeps. SABAKI AGAINST MULTIPULE OPPONENTS The Enshin Sabaki method is particularly effective against multiple attackers on the street. Enshin s Circular strategy and grabbing techniques allow you to quickly take advantage of your opponents. When being confronted by multiple attackers, you don t have time to stop and give your full attention to one opponent, or even more dangerous, standing in the middle of two or even three opponents leaving you directly in the line of attack from all directions (For example, placing a wrist lock on one opponent while at the same time back kicking another opponent and then dealing with a third opponent, is totally unrealistic). The truth is, if you are being confronted by multiple attackers, expect them to attack all at once not individually. If you stand in the centre, then expect to be hurt. Enshin Karate teaches his students to keep moving and not give your full attention to one opponent, because you leave yourself open to blind side attack. Try to position yourself in such a way as to keep one attacker between you and the remainder of the attackers. By doing this, you will only have to deal with one attacker at a time. In other words, use one of the attackers as an obstacle that the other attackers have to get around to get to you. Kancho teaches his students to drive the attackers into surrounding obstacles or into the other attackers. These principles are a critical aspect in being able to walk away from the confrontation healthy.

22 ENSHIN S ARMGUARD TRAINING The use of Armguards is an invaluable part of a Sabaki fighter s training regime. Sabaki training with armguards allows students to execute and apply the principles of Sabaki at full power in a realistic fighting situation without having the fear of being injured. By eliminating the fear factor associated with contact training, the student s mind is free to concentrate all their efforts in improving their technique and strategy, thus enhancing the development process. The ability to train with full power against a mobile partner holding armguards greatly improves footwork, rhythm and timing. Armguard training is also a valuable tool for the person holding the armguards. By repeatedly seeing full speed attacks from a fighting position, the student holding the armguards sharpens their eye reflexes and reduces their reaction time, as well as improving blocking technique. Practising Sabaki combinations with armguards requires concentration, good form, and a mutual understanding between you and your partner, in order to simulate actual fighting as safely as possible. You set up different fighting combinations so both you and your partner know the sequence. This way, both defender and attacker can work repeatedly on footwork and timing. When training with armguards the Enshin practitioner fully extends punches, kicks and knee strikes, the intent behind the techniques should be both real and explosive. When defending, the Enshin practitioner remains in a strong and balanced fighting stance and tries to react instead of anticipating their partner s attack. Kancho Ninomiya stresses the importance of watching your partner s body as closely as possible and trying to adjust spontaneously, as you would in a real fight. Strong concentration and precise technique are of utmost importance, whether you are sparring or holding armguards. THE KATA OF ENSHIN KARATE Enshin Kata consists of a series of blocks and counter attacks against imagined multiple attackers. Enshin Kata uses a natural stance instead of a traditional wide stance. Although a wide stance is excellent for developing power and balance, Kancho Ninomiya believes that the techniques practiced in Kata should simulate real fighting and the principles trained in Kata should not only focus on technique but rhythm, timing and footwork. Enshin karate has only six Kata and within those six Kata all elements are explored rhythm, timing, footwork, positioning, attack, counter attack, focus and spirit. The advantage of only having six Kata (in comparison to some styles having more than 20 Kata) is that the Enshin practitioner has a chance to explore the Kata more deeply and gain a better understanding of the underlying principles. After White belt Kata (Shiro Obi No Kata), the Blue belt and Yellow belt Kata (Ao, and Kiiro Obi No Kata) emphasise short and middle distance techniques with foot sweeps and a greater variety in both the attacks and counterattacks. The Green belt Kata (Midori Obi No Kata) develops defence against combination attacks using Kyushu (absorbing the opponent s power), foot sweeps and more complex counterattacks at a longer distance. The Brown belt Kata (Cha Obi No Kata) uses stopping techniques and a more compact Kyushu against attacks at all distances. Finally, the Black belt Kata (Kogeki No Kata) works solely on developing attacking strategies.

23 SHIRO OBI NO KATA (White belt Kata) 1. Kumite No kamae. 2. R Chudan zuki: Move to #1 position while doing L soto nagashi, R chudan (or jodan) zuki. Move back to original position. 3. R chudan zuki: Move to #1 position with L R hiki mawashi, R hiza geri, maki komi nage turning 180 degrees. 4. L shita zuki: Move to #2 position keeping left foot in front while doing L gedan barai, R chudan (or jodan) zuki. Move back to original position. 5. L chudan zuki: Switch feet while moving to #2 position with R L hiki mawashi, hiza geri, maki komi nage towards next opponent. 6. R jodan mawashi geri, R chudan zuki: R jodan kake oroshi to L, (opponent s foot lands in front), move to #1 position while doing L soto nagashi, R chudan (or jodan) mawashi geri. 7. L jodan mawashi geri, L chudan zuki: L jodan kake oroshi to R, (opponent s foot lands in front), move to #2 position while doing R soto nagashi, L chudan (or jodan) mawashi geri. 8. R mae geri: Kyushu while doing a R gedan barai, LH grab, pushing opponent s R sleeve away while R foot steps across to behind opponent s R (front) foot and RH pushes up under opponent s chin, ura nage, turning 180 degrees. 9. L mae geri: Kyushu while doing a L gedan barai, RH grab, pushing opponent L sleeve away while L foot steps across to behind opponent s L (front) foot and LH pushes up under opponent s chin, ura nage, turning 180 degrees into kiba dachi stance. LH switches to take hold of opponent s L sleeve and pull up 10. Todome: R gedan zuki, skip back R foot then L foot to kumite no kamae.

24 ENSHIN KARATE S WORLD SABAKI CHALLENGE Kancho Joko Ninomiya, (founder of Enshin Karate) was always trying to better his skill in the martial arts and challenge his sprit. Mas Oyama s All Japan tournament served as a tool for Kancho Ninomiya to gage where improvement was needed, and a way to measure his progress. He dreamed of one day starting his own full contact tournament in the USA that would provide the toughest test of karate spirit and techniques: no pads, no gloves, full contact. In 1978, Kancho Joko Ninomiya won the All Japan tournament. It was upon his return to his adopted home of Denver Colorado USA that he started to develop his dream. Many people believed that Kancho Ninomiya would not be able to succeed in developing a full contact karate tournament that fighters would want to compete and spectators would want to watch. There was a belief that the tournament would be to rough. This did not stop Kancho from following his dream. After a lot of hard work, Kancho developed a tournament he believed captured the true spirit of Budo. Kancho named his tournament Enshin Karate s World Sabaki Challenge. Sabaki is a Japanese word meaning to channel power efficiently. In karate, it means the natural way to use an opponent s power and momentum against them regardless of size. The Sabaki challenge is a fighter s tournament, which embodies the underlying purpose of karate training. The repetition and refinement of one s technique combined with constant effort results in an inspired performance. It is a tournament for serious karate fighters from any style who truly want to develop their skills and challenge themselves. Kancho wanted to provide a forum in which students could compete against other karate styles in a safe and respectful environment. What makes the World Sabaki challenge unique is the rule that allows grabbing techniques, which can be used by the fighter to pull their opponent off balance, take a side position, and expose a weakness. This adds another dimension to the fighting. Sabaki Challenge uses a circular fighting area instead of a square. This encourages the fighters to be more circular in their movement and technique instead of straight line power. The first year the tournament was held, it entertained a crowd of a few hundred. Today, Kancho Joko Ninomiya s World Sabaki Challenge is attended by thousands and has been televised nationally in the USA and Internationally.

25 The full contact format was chosen by Kancho Ninomiya primarily because: - It was the format in which he had competed in since high school. - He believes that full contact tournaments without pads or gloves require a blend of technique, power and sprit that is unmatched in non contact, point competitions. In 1999, Kancho Ninomiya opened the tournament to women, who compete in an open division. The women compete under exactly the same rules as the men. The Women s division has provided some of the most spirited fights of the tournament. SABAKI CHALLENGE RULES. The Sabaki Challenge continues to draw top karate fighters from all styles from around the country and abroad. In the 1989 Black Belt Magazine, the Sabaki Challenge was referred to as being the most popular single day martial arts event in the country. Ten years later, the same magazine wrote that the Sabaki Challenge has set the standard for bare knuckled full contact competition in the U.S Over the Years, Kancho Ninomiya has refined the rules for the Sabaki Challenge in order to emphasise the importance of technique, power and spirit. Generally, the full contact tournaments that are more widely promoted are spectacles where two fighters face each other and exchange numerous punches to the chest and kicks to the legs. The only way to score points was knocking out your opponent with a roundhouse kick or a knee kick to the head. Most of the time, the results are decided by the Judges, and the fighter that displayed the most sprit would be awarded the match. This type of competition fighting seems unrealistic, because in a street situation you can t afford to absorb repeated blows, especially if the opponent is armed with a weapon such as a knife. This is why Kancho Ninomiya started to award points for sweeps and throws. And if an opponent is doubled over by a punch or momentarily stunned by a kick, these techniques would also earn points. This concept promotes fighters to be evasive and use good technique to avoid the attack. Throughout his many years of tournament experience, Kancho has witnessed and been in situations himself where champions have been swept or thrown to the mat without their opponents being awarded points. This seems unfair; if you take an opponent down with good technique then you should be awarded points. The Sabaki Challenge Rules reward points for sweeps and throws regardless if the take down is followed by a controlled finishing technique or not. The Sabaki Challenge rules also allow a fighter to grab an opponent and strike as long as the grab is not applied for longer than 3 seconds.

26 The following is a breakdown of the scoring rules for the World Sabaki Challenge: 1. Matches will consist of two two minute rounds of fighting. If the score at the end of the match is tied, the fighter with fewer penalties will be declared the winner. If both fighters have the same number of points and penalties, the match will go to a judge s decision. In the event that the judge's decision is tied and the referee calls a "draw," then there will be a one minute overtime to decide the match 2. One point will be awarded to a fighter who causes his opponent to turn away after a stunning kick to the head. One point will be scored for a fighter who executes a successful sweep or throwing technique, remains on his feet, but does not follow immediately with a controlled punch or kick. The sweep must be a clean technique. In the event that a fighter executes a successful sweep or throwing technique and follows with an uncontrolled punch or kick after his opponent is down, the sweep is negated and he neither scores nor receives a penalty. It is the referee and/or judge s decision whether or not the follow up technique is controlled. 3. Three points will be awarded to a fighter who executes a sweep or throwing technique, only if he remains on his feet and follows with a controlled punch or kick. Any legal technique that doubles over the opponent will be scored three points. Any thrust, kick, strike, or other legal technique that connects and instantly downs the opponent so that his hands, hands and knees, or hands and hip touch the mat will be scored as three points. 4. Six points will be awarded to a fighter who legally downs his opponent who then cannot rise and continue after five seconds. The decision is declared a knockout and the fighter will be declared the winner. TRAINING FOR A SABAKI CHALLENGE The Sabaki challenge is only for those few competitors who are willing to make the commitment. For these people, it means months of extra training to acquire the necessary conditioning and strength. The techniques are no different from those learned in a normal training session in the Dojo, but fighter s training is more intense. Most Enshin Dojos will have incorporated in the class schedule, times for fighters training. These sessions are more intense and can consist of: Timed drills on the Heavy bag Which can consist of a fighter practicing various Sabaki on the bag, visualising oncoming attacks and countering etc. Drills are also conducted where two fighters work simultaneously on the same heavy bag in a continuous rhythm with each other, or alternating as is best when training Kicking.

27 Body Conditioning Various partner drills are used to condition the legs and upper body. eg. Two fighters face each other and take turns in delivering strong kicks to each other s legs or strong punches to the mid section. Physical Conditioning This is very important in a fighters preparation, generally this will consist of a combination of Weight training, Ply metrics (principle of training muscles to contract quickly from a stretched position), Stamina and endurance training i.e. Skipping, Sprints and Running. Arm Guard Training Using Enshin's Armguards allows the fighter to execute Sabaki techniques at full power in a realistic fighting situation. The ability to use full power against a mobile partner holding armguards greatly improves timing, rhythm, and footwork. For the Fighter that is holding the armguards, this type of training develops a feel for contact and improves blocking technique. Maki Wara, or Sandbag Training This type of training gives the fighter a strong grip and an ironclad fist. Sandbag training will toughen the skin, knuckles and the muscles of the hand. The sandbag is also used to condition the shins. Mixed Sabaki (sparring) In the lead up to a tournament, a fighter will perform many rounds of sparring. These sparring sessions might consist of two fighters working specific strategies or techniques in a controlled waybut at a fight pace. The fighters might chose to conduct more open sparring which simulates the pace and contact of the tournament. ENSHIN KARATE S DOJO KUN 1.We will always be courteous and show respect to others 2.We will strive to be our best and pursue it with patience 3.We will develop the mind and body to enhance the spirit 4.We will always keep an open heart and mind 5.We will accept the spirit of challenge 6. We will follow the meaning of Enshin in both our training and our daily lives

28 ENSHIN REASORCE MATERAL Contact Sensei for further information in obtaining any items Books Instructional DVDs Sabaki Challenge DVDS Visit enshin/ Enshin Karate world organization official web site Enshin Karate Australia official web site Enshin Karate Japan headquarters official web site