英国和道会空手道連盟本部道場. September

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1 Preserving the Original & Traditional A Member of the British, European & International Wado Federations September 2013 Two New Clubs for British Wadokai! Somerset Karate Centre Joins British Wadokai Please welcome, into direct British Wadokai membership, Mark Overthrow 5th Dan of the Somerset Karate Centre. Club details: Taunton (Creech St Michael), Somerset. The Somerset Karate Centre. Creech St Michael Village Hall, Ryesland Way, Creech St Michael, Taunton, Somerset. TA3 5QQ. Friday. Juniors 6yrs to 15yrs Friday evenings 6.30pm until 7.30pm. Seniors 16yrs and above Friday evenings 7.30pm until 8.45pm. Training fees: Juniors & Seniors 4.00 per person per session. Instructor: Mark Overthrow 5th Dan. ; somersetkarate@btinternet.com Telephone; Web Address: Mizuchi Wado Karate Joins British Wadokai Please welcome into British Wadokai membership, Mizuchi Wado Karate, run by Darran Queenan 2nd Dan. To learn more about the Mizuchi Wado Karate Club at Crowcombe in Somerset, please visit: Pictured right: The Dynamic Duo from Somerset, Mark Overthrow 5th Dan and Darran Queenan 2nd Dan. Welcome to British Wadokai! British Wadokai New Licensed Members Burgess Hill Wado (Sussex); Daniel Brightey. Cirencester Wado (Gloucestershire); Cranleigh Wado (Surrey); Cranleigh School Wado (Surrey); Crowcombe Wado (Somerset); Darran Queenan 2nd Dan. Elburton Wado (Devon); Gunnislake Wado (Cornwall); Horsham Wado (Sussex); Newcastle Wado (Tyne & Wear); Joseph Daglish 1st Dan. Pomphlett Wado (Devon); Taunton Wado (Somerset); Mark Overthrow 5th Dan, Jennifer Overthrow 8th Kyu, Ashley Overthrow 8th Kyu. Woolwell Wado (Devon); Yealmpton Wado (Devon); Welcome to British Wadokai! British Wadokai Grade Promotions/Registrations Burgess Hill Wado (Sussex); Cirencester Wado (Gloucestershire); Cranleigh Wado (Surrey); Cranleigh School Wado (Surrey); Crowcombe Wado (Somerset); Darran Queenan 2nd Dan. Elburton Wado (Devon); Gunnislake Wado (Cornwall); Horsham Wado (Sussex); Newcastle Wado (Tyne & Wear); Joseph Daglish 1st Dan. Pomphlett Wado (Devon); Taunton Wado (Somerset); Mark Overthrow 5th Dan, Jennifer Overthrow 8th Kyu, Ashley Overthrow 8th Kyu. Woolwell Wado (Devon); Yealmpton Wado (Devon); Congratulations to you all! Come and Come visit and the visit International British Wado Wado Federation Federation Facebook! on Facebook!

2 Page 2 Grand Master Hironori Ohtsuka. Grand Master Hironori Ohtsuka ( ), the founder of Wado Karate studied the martial arts for 85 years, ending his illustrious career as First Generation Karate-do Master of the 10th Dan - the greatest title that can be achieved in martial arts. Born on the 1st of June 1892, in Shimodate City, Ibaragi Prefecture, Japan, he was one of four children of Dr. Tokujiro Ohtsuka, a medical doctor who operated a clinic at their home. Ohtsuka Sensei began Jujutsu training at the age of five, under the direction of his great uncle Chojiro Ibashi, a samurai warrior. At 13 he began training in Shindo Yoshinryu Jujutsu under Tasusaburo Nakayama (a kendo instructor, ) who had inherited the style from D. Matsuoka. Tasusaburo was the third master, Chin style Jujutsu. This particular style, which stressed atemi, striking and kicking amalgamated with throwing, grappling, and free-falls, can be traced back to In 1911, Ohtsuka Sensei studied Toshin-Kenpo and attended other Jujutsu schools while a student in business administration at Waseda University in Tokyo. He also studied Yoshin Koryu with Kanaya Motoo. Unable to complete his studies as a result of his father s death, he became a clerk at the Kawasaki Bank, repressing his desire to become a full-time karate instructor out of respect for the wishes of his mother. On June 1, 1921, at the age of 29, he was awarded the Menkyo-Kaiden, a certificate of full proficiency, and was designated the Style s Successor for Shindo Yoshinryu Jujutsu. This made Ohtsuka Sensei the fourth master. Ohtsuka Sensei discovered karate in 1922 and started training under the legendary Funakoshi Gichin (the founder of Shotokan Ryu, ) who has just arrived in Tokyo from Okinawa. This was the start of a long and close friendship between the two most important people in martial arts in the 20th century. Ohtsuka trained virtually every night at the Meishojuko Dojo and began to have ideas on how to adapt his atemi techniques to karate. During this period he also trained under Kenwa Mabuni ( ), the founder of Shito-Ryu in Tokyo, and it was with Mabuni that he clarified the Pinan katas (between 1928 and 1929). Ohtsuka worked with Choki (Saru) Motobu ( ) on the Naihanchi kata. He also studied Kobudo, the Okinawan ancient weapons arts. In 1927, Ohtsuka Sensei set himself up as a medical specialist in treatments of martial arts injuries. By 1928 he was the assistant instructor to Gichin Funakoshi. At the time, Okinawan karate only concentrated on kata. Around 1929 Ohtsuka Sensei introduced the study of jiyu-kumite (free fighting) for both combat and competitive purposes; teaching ippon (one-step) and sanbon (three-step) kumite (sparring) - laying the foundation for modern free style karate kumite tournaments. He felt that the full spirit of Budo, which concentrates on defence and attack, was missing, and that kata techniques needed the support of realistic fighting situations (Goshin) and club/competitive sparring (Jiyu Kumite). As a result of differences in teaching style, especially in the performance of kata and in the introduction of free fighting, Master Ohtsuka Sensei and Master Gichin Funakoshi parted ways in the early 1930s. On April 1, 1934, Ohtsuka started his own school the Dai Nippon Karate Shinko Club (Dai = great, Nippon = Japan, Shinko = to promote, bu = martial, kai = association) at 63 Banchi Suehiro-Cho Kanda-Ku Tokyo-Shi. He merged traditional Japanese Jujutsu with Okinawan karate into Wado-Ryu Karate-Jujutsu. From Okinawan karate came the hard punches and kicks, and from Jujutsu and Kendo (Ken-jutsu) the use of body movement and joint locks and pins. Wado is, in essence, a primary combination of both Gichin Funakoshi s original teaching of Okinawa-te and Tasusaburo Nakayama s teaching of Shindo Yoshinryu Jujutsu. According to Grand Master Ohtsuka, Wado-Ryu is primarily a spiritual discipline. For him, "ten-chi-jin, ri-do" (heaven - earth - man, principal way) is a

3 Page 3 harmonious union to be respected and sought through austere discipline and untiring dedication. Wado-Ryu Karate was officially recognised as an independent style of karate in This recognition allowed Ohtsuka Sensei to leave his medical practice and fulfil his life's ambition to become a full-time martial artist. By 1938 the Dai Nippon Karate Shinko club was little more than a name. The name went through several changes before becoming finally Wado Ryu. It was changed to Dai Nippon Karate-do Shinbu-Kai, followed by Ko-Shu Wado-Ryu Karate Jutsu, then to Wado-Ryu Karate Ju-Jutsu and then Wado Ryu. Wado Ryu means School/ The Way to Peace/Harmony. Wa = peace/harmony, Do = The way, and Ryu = School. In 1940 Wado Ryu was registered at the Butokukai, Kyoto for the demonstration of various Budo, together with Shotokan Ryu, Shito Ryu and Goju Ryu. In 1944, Ohtsuka Sensei was appointed Japan s chief karate instructor. On August 25, 1967, Karate Do, Volume 1 by Saikô Shihan Ohtsuka was published. This book was not for sale and contained mainly kata. On August 25, 1970 Karate-Do 2nd. Volume - Fundamental Kumite, also by Ohtsuka, was published. Through his writings, Ohtsuka taught that the way of martial arts must not be mere fighting technique, but the way of "peace and harmony," not violence. The path of martial arts is the path for peace. By mastering the path of martial arts, which is the path of peace and desiring the path of peace consequently, is indeed the true path of the martial arts. The essence of the path of martial arts lies in the peace and happiness of all human beings. Throughout his career, Ohtsuka Sensei received numerous outstanding awards including: the Kun-Go-To, The Fifth Order of Merit of the Sacred Treasure, awarded on April 29, 1966 by the Emperor of Japan. The Emperor also decorated him with the Soko Kyokujitsu-Sho medal for his promotional efforts in karate. As well, the International Martial Arts Federation, Kokusai Budo, conferred on him the title Shodai Karate-do Meijin Judan (First Generation Karate-do Master of the Tenth Dan) on October 9, This was the first time that this award has been given to a practitioner of Karate, and was the same status as that of Kyuzo Mifune in Judo and Hakuko Nakayama in Kendo. Grand Master Ohtsuka died on the 29th of January After his death the Wado Karate-do community split into three separate worldwide organisations. This was triggered by differences in teaching style and in leadership. The three organisations were Japan Karate-do Federation Wado Kai, based in Japan; Wado-Ryu Renmei under Jiro Ohtsuka in Japan; Wado International Karate Federation under Tatsuo Suzuki based in England.

4 Page 4 Is Wado Economy Good For You? If you want to train in martial-arts just to get super-fit, then Wadoryu may NOT be for you. Wado techniques are designed to be economical and efficient, thereby promoting a more effective method of combat. However, if it s just fitness, strength and stamina you want, maybe take up a lesser economical form of physical activity, such as kick-boxing, boxercise or aerobics, etc., instead! Although training in Wadoryu has its health benefits, through the repetitive training processes (for muscle-memory & conditioning, etc.), it is not primarily designed as a work-out! However, like any martial-art, you only get back what you put in, so the more you train the better and healthier you ll become. Ohtsuka Meijin created Wado Karate to be an efficient and effective fighting system to be accessible and practised by everyone (both young and old). Wado Karate - It s not just a life-skill, it s a FOR-LIFE SKILL. Changes for the British Wadokai Yudan Shinsa There will be a 'slight' change in both the protocols and venues of all future British Wadokai Yudan Shinsa (Black-Belt Gradings). As from September 2013 there will now be the introduction of the British Wadokai Southwest Yudan Shinsa alongside the British Wadokai South Yudan Shinsa. These gradings may be 'staggered' to three monthly intervals, with the Southwest Gradings in June and December and South Gradings remaining in March and September (this may be considered for the 2015 (onward) gradings). This way students from all British Wadokai Membership may be able to take advantages of both venues. In the future, looking towards a slightly more 'northern' venue, Cirencester may be earmarked as a location to facilitate BWK-North and the Midlands, upon demand (but this is still in the early stages, but has potential as a closer point to our furthest club in Newcastle and still accessible from Burgess Hill in Sussex), with the advantages of the M5 and the M4, etc. In the past we have allocated a separate venue for the Hikki Shiken (written examinations). However, the written examinations will now be conducted on the same day prior to the practical examination, which would mean that all applicants must arrive promptly for the (new) start-time to facilitate the written examination; this will not be delayed or postponed due to lateness of applicant/s (so please ensure early arrival to the venue). Black-belt gradings will now have a start time with the opening of the written examination. There will be an hour free-practise session; this also allows the examination board to mark and assess the written exam papers. The practical examination will then proceed and then the final marks given. As usual, the announcement of the final individual scores will be given as part of the Award Ceremony.

5 Page 5 Standardisation Courses for BWK-SW Up until now Standardisation Courses, in British Wadokai Southwest, have been conducted at the BWK-Honbu, every two months, during the normal Tuesday training sessions (this is due mainly to local BWK membership). However, with the influx of new member-clubs, within the further expansive southwest region (Cornwall to Taunton), we are now having to rethink the courses for special Sunday sessions, as with the south. As from 2014 Standardisation Courses will now be available on Sundays 10am-1pm. Please see Date Section for further details and implemented dates. The British Wadokai Gyo-Enbu 禦演武 GYO - Discipline. 行 GYO - 'Elements', 'defend', 'protect', 'resist', 'ward off', 'defences', 'sequences', 'stages', 'practise', 'discipline', 'physical discipline', 'breaking out'. 禦 Gyo has many connotations, depending on the written Kanji, and is a term that also refers to the formulation of prearranged fighting sequences. Utilising this Kanji, 禦, it is a term referring to the formulation of prearranged (rehearsed) defensive fighting sequences (known fully as Gyo-Enbu 禦演武 ) introduced into the BWK Wado Syllabus by Gary E Swift (8th Dan) Kyoshi in In British Wadokai, Gyo-Enbu plays an important role with the development of the many elements within the Wado fighting skills, Wado principles and attitude within Wadoryu Karate, etc. This type of training allows an individual to work with a partner (or partners) to make a rehearsed fighting sequence that, although containing the essential elements of wado-ryu, allows a degree of freedom of expression. An official British Wadokai Gyo-Enbu, for grading and competition purposes, must last at least 60 seconds and encompass a balance of fighting sequences between the two combatants, demonstrating as many of the Wado principles as possible plus a dynamic expression of their own individual ability. Within the philosophical principle gyo-practice it is the developing of character, mutual trust and cooperation between people; and in society to create a foundation for a better society for peace and harmony. Gyo is translated as; 'defend', 'protect', 'resist', 'ward off', and this meaning is reflected in the Kanji 禦. GYO-ENBU - 禦演武 'Defence demonstrations'. Refers to the pre-arranged fighting sequences created by pairs (or more) for the requirements of various black-belt gradings within British Wadokai. Source: BWK Wado Comp. Juniors, of the Japanese Karate Federation Wadokai, performing a competition-style Gyo-Enbu.

6 Page 6 British Wadokai Have Losers! BWK have losers, and we re proud of it! In the politically correct all winners society, that we have to live in today, it is refreshing to know that in British Wadokai there are still losers! Adults and children KNOW that if they perform badly during a grading that they will fail. Additionally, through failing, they can learn and move towards improvement without being told that their performance was passable (giving them a totally false sense of improvement and achievement). All too often we all hear about school-teachers who allow pupils to pass certain tests, just so as it doesn t effect their selfesteem (helloooo people, this is real-life!). Our Liberal-Lefty society is creating a population of losers who have the illusion they have won! By allowing failure, not only does the student work harder to improve but it also keeps the standards high (it is a process of elimination and natural selection ). If a student fails, and as a result then leaves, this shows their own character weaknesses. If a student fails and carries on, this shows us all their strengths of commitment and determination to achieve (a quality that I feel is being constantly eroded in our modern education and society). We want winners, but not at the expense of not learning! We must all learn to lose, so that we can all learn to win! About Nijiri-Ashi 躙足 Nijiri Ashi Literally means crawling foot/feet. To simulate the crawl the toes on the leading foot curl in to pull the foot forward whilst the back foot transfers weight from heel to toe to push forward and draw up behind. To reverse the process, as if defending and moving back, the rear foot transfers from heel to toe and allows the leading foot to draw back, in much the same way, also. Nijiri-ashi Crawling foot/feet. 躙足 Nijiri-ashi is a tactic to make advantage, in distance, by using a creeping, sliding or foot shuffling tactic (either by creeping forward or backwards). Refers to the foot-creeping or shuffling tactics (or similar movements) in order to make adjustment/s in distancing (forward or backwards) between the opponent, etc. Nijiri ashi is a movement also seen within Ken-jutsu. The reason for this footwork is to minimise Suki. In Ken-jutsu any opening can lead to death by sword-strike. Any time the feet are lifted, a potential opening is created. By moving with nijiri-ashi one attempts to minimise any potential opening. Also, traditionally, nijiri-ashi would have been done under the cover of Hakama; so even this slight movement of the feet would have been partially hidden. Suki Opening. Refers also to a possibly weak defensive position, or being vulnerable to an opening attack. Pictures. A typical post-grading scene with successful students. Sensei Saitamatsu (JKF-Wadokai) demonstrates advantage with correct distance, during nijiri-ashi, with an opponent.

7 Page 7 Still Confused? I have noticed that some students are still confused by the principles of same hand to kick techniques where the arm doesn't change on Tobikomizuki and the Gyakuzuki where the hand does change during a front kick (Maegeri-tobikomizuki and Maegerigyakuzuki). Many years ago all the Japanese instructors (especially Suzuki Hanshi with his shinai) took great delight in punishing students who changed arms when performing a combination that involved a same side punch after maegeri (such as Maegeri-tobikomizuki and Maegeri-nagashizuki, etc.). This principle was further compounded when, in 1976, Ohtsuka Meijin came to the UK, when it was explained that this combination-movement was reflected within Kette Junzuki and Kette Gyakuzuki by bringing the arm to a position so we are punching from the body. These kette-waza were the only combinations taught in Japan in the early years; as they weren t considered combinations (as such) but single dual-strike techniques. Combinations, however, are made up of two step/ stage techniques, extensions of our traditional Ido-kihon-waza. In British Wadokai, as we have (proudly and gladly) taken on the responsibility to preserve these old teachings, we have also maintained and preserved this principle. Furthermore, when we were exposed to the teachings of Toru Takamizawa Kyoshi, in the early 1980 s, he explained further that these principles are not only contained within Kette Junzuki, as a Kihon-waza, but also as the movements present within Pinan Shodan and Pinan Yodan (again he insisted that these were not taught as separate combination techniques ). Additionally, he also explained that the kette-waza process was to promote Ichosu (punching from the hip/body as the foot touches the ground). If the arm is exchanged during maegeri-tobikomizuki this would have the effect of double movement for the process of the punch from hip (as if stepping forward just to punch). So, incorrectly, the hand would have to move twice if performing a handexchange during the kick. For example, if we were simply stepping to punch we wouldn t change arms prior to the step; we would step and punch, etc. With so many Japanese Wado Instructors, in the past, emphasising the SAME importance of these movements, it prompted me to investigate this myself during those years. After many years of training and practise I can also see the significance, benefit and justification in these movements, as we are punching from the body as a single action, and so, we in British Wadokai will also work very hard in maintaining these movements (if not just for maintaining good mechanics and efficiency in technique, but also for posterity of the original understandings & teachings of Ohtsuka Meijin and Suzuki Hanshi). I have repeated the original article in the following pages, in the hope that BWK students can once again be exposed to these VERY IMPORTANT principles; which we shall always maintain. So to summarise: Maegeri-tobikomizuki and Maegeri-gyakuzuki are as Kettewaza and are considered and performed as a SINGLE- TECHNIQUE process.

8 Page 8 The Forgotten Wado Principles Within Renraku-Waza - The Natural Progress of a stepping Punch The first combinations! It is popularly known that these particular combinations were some of the first combinations created in Japan by Ohtsuka Meijin and they followed the principles of our kette-waza. Although these principles are followed and promoted by British Wadokai, the Japanese Karate Federation, Wado Renmei, and of course the UKKW/ WIKF, they are very often neglected in many of the other schools of Wado today. We are taking a look at Maegeritobikomizuki and Maegeri-gyakuzuki. For this article I am using the pictures of Suzuki Tatsuo Hanshi, which are taken from his booklet, Karate Wado Ryu 8th Kyu, produced in Remember, these principles, and related concepts, are related to our kette-waza (kette-junzuki/kettepictures of Tatsuo Suzuki Hanshi training in Japan. gyakuzuki, etc.). Maegeri-tobikomizuki comes from Kette-junzuki and is reflected and demonstrated in the Kata Pinan-Shodan, Yodan (as well as in Seishan, Ji han, Ji in, etc.). When moving towards making the punch we do not change hands fist step then punch, so why should we do this while we deliver front-kick during kette-junzuki; as the kick is primarily considered a step within basics? Advantages: The advantages of not fully committing the shoulders (just the hips) during the delivery of the Maegeri are many-fold. For example: Speed of kick and punch. We have not telegraphed our initial intention of the technique by body commitment. Variable kicking and punching distances. Better use of distance between the fist and the opponent for added punching power. We can easily transfer weight during movement, by being able to move backwards, forwards and sideways. Promotes faster kicking and punching ability. Creates better management and manoeuvrability, for both kicking and punching, during henka-waza and nonhenka-waza tactics during combat. In reference to similar m ove m e nt w ithin Seishan. Although more advanced (due to lower target delivery for the punch) we see the hand drawing back for the kick, back to the body, to punch (as with Seishan s chidoriashi gedantsuki). Due to the hand being in an upperchamber position, as a result of the downward back-fist strike, it would need to pull back to the body to deliver an effective lower punch, also reflecting the same principles of maegeritobikomizuki. Right. These principles are also demonstrated in the Renraku-waza Maegeri-nagashizuki. Demonstrated by Tadayuki Maeda 5th Dan, and taken from Tatsuo Suzuki Hanshi s book, Karate Wado Ryu 5th, 4th, 3rd Kyu.

9 Page 9 Maegeri-gyakuzuki comes from Kette-gyakuzuki and is reflected and demonstrated within Kata PinanShodan, etc. By changing the guard (bringing our intended punching fist back in readiness to strike during the kick) and twisting the hips, as well as the shoulders, during delivery of Maegeri we are already stretching our kick to the distance required when the opponent is already at the distance for the Gyakuzuki, etc. Additionally, we are bringing our punching fist back to the body for extra punching advantages, speed and focus flexibility (however, it is important not overstretch our bodycommitment on the kick so as not to be able to retract if necessary). The advantage of this technique is to ensure correct delivery onto an opponent and able to maintain full power and commitment to both the kick and punch. Advantages: Creates more power for kick and punch delivery. Once an opponent is destabilised we can easily overcome him with our forward distancing and manoeuvrability. Disadvantages: Shows early commitment of technique, due to hand exchange, if used incorrectly. It must also be remembered that on both kette-waza (junzuki and gyakuzuki) you MUST NOT commit your weight too far forward on the kick, as this would compromise balance. You must still be able to be in a position to kick and recover safely. Pictured below: Left; principles of Maegeri-tobikomizuki (Kette-junzuki) within Pinan Yodan. Right; principles of Maegeri-gyakuzuki (Kette-gyakuzuki) within Pinan Shodan. I wonder how many other Wado schools have retained these valuable principles within their Wado? Above Left: Kette Junzuki principles within Pinan Yodan, reflected within Renraku-waza; Maegeri-chudan Tobikomizukijodan. Above Right: Kette Gyakuzuki principles within Pinan Shodan, reflected within Renraku-waza; Maegeri Gyakuzuki.

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11 Page 11 British Wadokai Standardisation Course Part 3 Pure Wado for Wado Purists! 英国和道会空手道連盟 Includes standardisation of all British Wadokai Tai-sabaki of Ohyogumite, and Kihon-gumite. If there is time, there will also be elements and practise of the practical applications and tactics of Futari-dori (2-to-1 sparring), so please ensure you bring your Bogu (hand-mitts and shin & instep pads), just in case. Date: 29th of September Instructor: Gary E Swift Kyoshi. Venue: The Scout Hall, Swindon Road, Horsham, West Sussex, RH12 2HF. Time: 10am-1pm. Price: 15. Please bring packed-lunch. For further details, please contact the Event Organiser: Gary E Swift Kyoshi. Tel (ext. 3). britishwadokai@yahoo.co.uk British Wadokai: Please ensure you bring your BWK Attendance Card for signing/stamping. Open to all! These courses are open to all students, as ALL the Wado syllabus is covered and standardised over the four-part courses. So, although these courses are especially recommended for 7 th kyu & above, students wanting to grade for a future black-belt can start accumulating Standardisation Course stamps from when they first start training, if they wanted to. There is (or should be) no excuse for students who have not acquired the minimum requirements to grade for black-belt ranks (as they have from the day they start training to get stamps). Remember, all applications, which do not have the required training history, will be rejected due to inadequate training (Futanren). Thinking of going? Car-Share: Why not half the cost and ask another student or training colleague to join you and share the petrol cost? Website; Until dedicated facilities & personnel are available, all future British Wadokai Instructor & Examiner Courses/Qualifications will be also be assessed and awarded during the course for those eligible. Don t Go Backwards! If you only train once a week, and/or don t top-up with home training, don t expect much improvement past 7th Kyu. As a student advances in grade so should his ability to retain what he has been taught and also advance in ability. Training more than once a week is essential past 7th/6th Kyu. A brown belt should be training AT LEAST twice a week at a Dojo or at least topping-up his training on a daily basis at home. Without proper training a student can actually get worse through not being able to retain what he has already been taught and accomplished. Many Sensei get very frustrated over re-teaching students techniques and Kata that they have already been taught but have forgotten; just by simply not practising at home. Remember, you can only get out what YOU put in! Taro (4th Kyu) kata champion demonstrating good form with Ura-gamae from Ku-shanku Kata in 1997 at the British Wadokai Honbu Dojo. Home training is an integral part of Karate-do if you want to retain what you already have and move forward to progress.

12 Page 12 BWK Standardisation Wado Karate Course Part 3 - Ohyo-gumite, Kihon-gumite. OHYO-GUMITE Applied sparring. The prearranged, 'semi-free sparring', fighting sequences practised in Wado-ryu Karate. The principle of Ohyo-gumite is to enable the student to develop individual timing, as if free-fighting, as apposed to coordinated timing found in Kihon-gumite. (A = Attack, D = Defence - R = Right stance, L = Left stance). Prior to the attack/defence the tactic of nijiri-ashi (creeping-foot) is performed by both the attacker and defender. 躙足 The attacker 'creeps' forward (mae-nijiri-ashi/ma-o-nusumu) to take advantage, and the defender 'creeps' back (ushiro-nijiri-ashi) to retain the Ma-ai. Ipponme; A - L: Step forward with head then chest punch, left foot sweep, right reverse punch to the body. D - L: Step back into right short cat stance with right inner sword hand block. Nihonme; A - R: Right leg slides forward with left reverse punch to the head, one step foot sweep, left reverse punch to the body. D - L: Draw back into long cat stance with left inner sword hand block. Sanbonme; A - L: Step forward with head then chest punch, slide forward to twist into right horse riding stance (avoiding oncoming punch from opponent), with right arm across D's chest and right shoulder, take down over right knee, back fist to head. D - R: Step back into left fighting stance with hidari-jodan-uchi-te-nagashi-uke, slide forward left leaning lunge punch to the head. Yonhonme; A - R: Step forward with right back-fist strike to the head (temple), left hand grabs D's right sleeve (between elbow and shoulder), right reverse punch to the body, right hand grabs D's left shoulder (A's arm behind D's neck), pull onto right knee strike, right downward elbow strike to base of skull/neck. D - R: Draw back into right side viewing back stance blocking with right forearm to cover side of head (temple). Gohonme; A - L: Step forward left reverse punch, one step front kick to the body. D - L: Step back with right inner block to the body, step back with left inner open-hand deflecting block, right ridge-hand strike to the 'floating-ribs', right back-fist strike to the head, left hand grabs A's right shoulder, drop down onto right knee pulling A to the ground while right hand strikes rear of A's right knee, sword hand strike to the side of head. Ropponme; A - L: One step front kick to the body, left leg slides forward with right reverse punch to the head, one step foot sweep, bring left leg back for distancing, right roundhouse kick to the body/head. D - L: Step back into right fighting stance, draw back into long cat stance while blocking in with right sword hand block. Nanahonme; A - L: Slide forward left snap punch, slide forward left snap punch, slide back with left open-hand deflecting block, right reverse punch to the body, right hand grabs D's right shoulder, place right foot sole (toes out) behind D's right knee, pull D's shoulder to the right taking him to the ground, reverse punch to the head. D - L: Slide back with right inner open-hand deflecting block, slide back with right inner open-hand deflecting block, right front kick to the body. Napponme; A - R: One step foot sweep, foot sweep, back kick to the body and step inside D s left leg with right leg and use Kuzushi tactic and right outer block, while performing left reverse punch to the body. D - L: Step back into right fighting stance, step back into left fighting stance. KIHON-GUMITE 'Fundamental sparring'. The prearranged fighting sequences within Japanese and Okinawan Karate that reflect the fundamental concepts of the individual style. (A = Attack, D = Defence - R = Right stance, L = Left stance). Prior to the attack/defence, the tactic of nijiri-ashi (creeping-foot) is performed by both the attacker and defender. 躙足 The attacker 'creeps' forward (mae-nijiri-ashi/ma-o-nusumu) to take advantage, and the defender 'creeps' back (ushiro-suri-ashi) to retain the ma-ai. Ipponme; A - R: Tobikomizuki-jodan, gyakuzuki-chudan. D - R: Nagashi-soto-uke-jodan in migi-tate-seishan-dachi, left foot slides forward and outward and twisting into migi-tate-seishan-dachi while turning the body to avoid punch, right nagashi-gedan-barai (noru) with left nakadaka-ipponken-chudan. Nihonme; A - R: Tobikomizuki-jodan, surikomi-sokuto-chudan. D - R: Nagashi-soto-uke-jodan in migi-tate-seishan-dachi, hidari-gyaku-neko-ashi-dachi with right gedan-barai, right foot slides in behind A's right leg, twist body clockwise into gyakuzuki-tsukkomi-dachi while striking with right soto-haito-uchi (upper right ribs, between spine and right shoulder blade) and left shotei-uchi (right kidney area/lower ribs) chudan. Sanbonme; A - R: Tobikomizuki-jodan, right foot draws back for ma-ai to deliver left maegeri-chudan. D - R: Nagashi-soto-uke-jodan in migi-tateseishan-dachi, slide forward into right tate-seishan-dachi with right tate-chudan-tsuki/nakadaka-ippon-ken (solar-plexus), while using left fist to 'protect' the body from A's kicking leg. Yonhonme; A - L: Tobikomizuki-jodan, gyakuzuki-jodan. D - R: Nagashi-soto-uke-jodan in migi-tate-seishan-dachi, draw back into mashomen-no-nekoashi-dachi while blocking with left te-nagashi-uke-jodan, slide towards the opponent into migi-tate-seishan-dachi with left palm osae-uke on A's right punching arm, while striking nakadaka-ippon-ken-chudan to the middle/upper ribs under A's arm. Gohonme; A - L: Tobikomizuki-jodan, gyakuzuki-chudan. D - R: Nagashi-soto-uke-jodan in migi-tate-seishan-dachi, draw back into (moving stance) mashomen-no-neko-ashi-dachi while blocking with otoshi-uraken-uke, left hand grabs A's right fist while sliding into migi-tate-seishan-dachi striking right hitosashi-ippon-ken-chin-chu (under the nose), slide into shiko-ashi-dachi while delivering right chudan-empi-uchi (sternum), right hand assists left with fist grab applying grab/lock, using circular motion, with elbow support, on takedown technique while moving into right mashomen-no-neko-ashi-dachi, right kosa-dachi, right mashomen-no-neko-ashi-dachi, as A falls ensure right foot is placed under A's right shoulder-blade, apply arm-locking technique (while A is on the ground control must be kept with both hands), place right knee above A's elbow joint, release your right hand to reinforce control on the forearm (thumb turned in), take arm to the ground pressing both knee and hand against A's arm while moving and resting into left kata-hiza-dachi, right shuto-uchi-jodan (to the side of the head/temple), place hand back on A's arm with thumb pointing outwards this time, release knee pressure while still controlling A with the hands, left kata-hiza-dachi, release. Ropponme; A - L: Tobikomizuki-jodan, surikomi-sokuto-chudan, gyakuzuki-jodan. D - R: Nagashi-soto-uke-jodan in migi-tate-seishan-dachi, twist to the left with hidari-gyaku-neko-ashi-dachi and using right gedan-barai, twist back 180 to the right in migi-tate-seishan-dachi while using right haishu-ukejodan and left nakadaka-ippon-ken-chudan. Nanahonme; A - L: Tobikomizuki-jodan, left foot draws back for ma-ai to deliver right maegeri-chudan. D - R: Nagashi-soto-uke-jodan in migi-tateseishan-dachi, slide into migi-nagashi-tsuki-dachi while delivering right tate-shuto-uchi to the neck, under A's jaw. Napponme; A - R: Tobikomizuki-chudan, gyakuzuki-jodan. D - R: Chudan-uchi-uke in migi-tate-seishan-dachi, while twisting the body further back (while still retaining migi-tate-seishan-dachi) block age-empi-uke, slide forward into tate-seishan-dachi while striking right hitosashi-ippon-ken to A's top insideleg/groin area (left hand presses A s right wrist to chest area), slide in reinforcing right yoko-empi-uchi in shiko-ashi-dachi, twist body to face A, press A's wrist and forearm with both hands (left tate-shuto position on arm while right haishu 'rests and presses' against the back of A's wrist) while right knee presses against the inside of A's leading leg to create kuzushi effect, release when A becomes unbalanced and falls away. Kyuhonme; A - R: Tobikomizuki-chudan, gyakuzuki-chudan. D - R: Chudan-uchi-uke in migi-tate-seishan-dachi, left foot slides forward and outward into migi-tate-seishan-dachi while delivering left nakadaka-ippon-ken to A's throat/neck whilst deflecting with right haishu-uke. Jupponme; A - R: Tobikomizuki-jodan, gyakuzuki-jodan. D - R: Uchi-shuto-uke-jodan in migi-tate-seishan-dachi, right soto-haishu-uke while striking the vulnerable point just above the left chest (and below the collar bone) with migi-tate-empi-uchi in migi-tate-seishan-dachi - the left hand presses with osae-uke to A's right wrist at the same time, draw left arm back while grabbing A's sleeve, at the shoulder/arm area, with right hand - between shoulder and elbow, strike left haito-uchi to A's groin in gyakuzuki-dachi, step under your own right arm with left leg moving into gyaku-neko-ashi-dachi while grabbing A's left leg, throw A over right shoulder while using a lifting manoeuvre with the left hip - dropping down and releasing grasp on A's leg as his weight shifts forwards, pull down with right hand to create throw whilst drawing back and down into left kata-hiza-dachi. The objectives with the British Wadokai Standardisation Course is to ensure that all members within British Wadokai are practising and teaching the correct form of Wado as laid down by Ohtsuka Hironori Meijin and Suzuki Tatsuo Hanshi. The techniques of British Wadokai, which include, Kata, Sanbon-gumite, Ohyo-gumite, and Kihon-gumite were introduced into the UK in 1964 and are the most important primary foundations of British Wadokai Karate-do. There should be no modification or deviation from these principles and techniques. It is not Wado if these primary training elements are not practised correctly.

13 Page 13 Where does Naga, of Naga-shi-tsuki, come from? NAGA = Japan. 'Flow'. Variations/ examples include Naga: Flow as in the natural flow of a river. Naga-re: Current flow - as in the Naga-re of the river (direction of the current). Naga-re-ru: To flow through. Nagasu: (active form) as in 'I will Nagasu the water' (I will drain/direct the water). Nagashi, the verb of Naga, means flowing. Tsuki (zuki) translates as spirited thrust (which commonly refers to punch). Other connotations include: KI-NO- NAGA-RE = Japan. 'Spiritual flow'. Refers to the practise that allows Ki to flow during the execution of techniques. In Wado, this would refer to natural breath with technique. However, Naga-re does not want to be confused with Noga-re, which refers to the natural, or empathic, state of breathing. The fundamental types of breathing generally used in martialarts include: Aun; harmony or diversion breathing, Ibuki; abdominaltension breathing, In-ibuki; passive/ internal breathing, Nogare; Emphatic breathing, Zen; natural or basic breathing. Sensei Swift Nagashizuki Principles Course, Bridgwater, Somerset. DOJO-KUN - 'Training way maxims' The maxims governing the discipline and mind of the individual in relationship to the martial-arts studied. These Maxims are motto's, the spirit of which serious students of Karate should try to follow if they wish to gain the maximum from their training. The Maxims are like the English saying 'Service not self', 'Deeds not words', 'Be prepared' and exemplify an attitude which dictates a way of life. Every Martial-art have Dojo-kun, although they would be very different from each other, depending on the style practised. Reisetsu O Mamori (Stick to the rules of the Dojo). In the dojo good etiquette must be observed by the following the club rules. Shingi O Omanji (A student must have loyalty to his instructor). This is the most important thing in Martial Arts. It is not possible for someone to change his style in Japanese Martial Arts - People who do so cannot learn to focus on the fundamental principles and direction of correct technique within each system practised; this also contradicts good etiquette and the spirit of Martial Arts, especially as styles can be diametrically opposed, both mentally and physically, to each other. Jojitsu Ni Oberezu (Teachers and students are not all one; do not take advantage of his friendship). Outside the Dojo you can be friendly with your Sensei but do not take advantage of this friendship - Remember, inside the Dojo he is your Sensei. Shinkenmi Ni Tesseyo (Be serious in your efforts). No flippancy, chattering, smoking, gum chewing, eating or drinking in the Dojo. Concentrate solely on Karate and train hard in everything you do. The dojo is not a social gathering hall; visitors as well as students must respect the rules and maxims.

14 Page 14 Letters! I am so pleased to have joined British Wadokai, the best thing I have done in such a long time. I know the school(s) will benefit so much from your knowledge and wisdom, without the politics that are suffocating so many others. If other clubs/groups truly want to be free and practise traditional Wado-ryu then they should not hesitate in joining British Wadokai and start living karate as it should be, because that is exactly what I can now do. Mark Overthrow 5th Dan. Somerset Karate Centre. It s an absolute pleasure having the Somerset Karate Centre within membership. I am looking forward in seeing you and your club/s grow within British Wadokai. The adoption of a formal Uniform (Gi, Karategi or Dogi). When Karate-do was first introduced to mainland Japan from Okinawa, it was obvious that the traditional Kimono (the daily clothing worn in public) was too bulky and restrictive for the physical movements of Karate-do. In many old photographs, Karate-do practitioners are seen wearing underpants or long underwear. Premier members of the Butoku-kai included the Emperor, Prince and other top officials; both military and religious (also keep in mind the Emperors position in the Shinto Religion). It was considered highly improper to practice or perform before these delegates in such attire therefore the Butoku-kai adopted (mandated) a Gi made of a lighter weighted material for use in Karate-do. British Wadokai UK Yūdan Shinsa (Southwest Region). 英国和道会空手道連盟 22/09/13. Until dedicated facilities & personnel are available, all future British Wadokai Instructor & Examiner Courses/Qualifications will also be assessed and awarded during the Yūdan Shinsa for those eligible. All Nidan & above are eligible to take part in the assessment for various qualifications as future Black-Belt Panel Examiners. Venue (Grading Date Southwest; 22nd September 2013): British Wado Kai Honbu (HQ) Dojo. Plymstock Karate Club. Pomphlett Methodist Centre, Pomphlett Gardens, Plymstock, Devon. PL9 7BL. Time: Written: pm. Practical Examination: pm. Applicants must have already completed the written examination prior to attempting the practical exam. For further details, please contact Chief Examiner: Gary E Swift Kyoshi. Tel: (ext. 3). britishwadokai@yahoo.co.uk Applicants: Samuel O Rourke (attempting 1 st Dan), Elliot Millington (attempting 1 st Dan), Guy Sparham (attempting 1 st Dan), Jodie Robathan (attempting 2 nd Dan), Samuel Robathan (attempting 2 nd Dan). British Wadokai UK Yūdan Shinsa (Southern Region). 英国和道会空手道連盟 28/09/13. Until dedicated facilities & personnel are available, all future British Wadokai Instructor & Examiner Courses/Qualifications will also be assessed and awarded during the Yūdan Shinsa for those eligible. All Nidan & above are eligible to take part in the assessment for various qualifications as future Black-Belt Panel Examiners. Venue (Grading Date South; 28th September 2013): Horsham Wado Karate Club. Kingslea Primary School, Kings Road, Horsham, West Sussex. RH13 5PS. Time: Written Examination: am. Practical Examination: pm. Applicants must have already completed the written examination prior to attempting the practical exam. For further details, please contact Chief Examiner: Tel: (ext. 3). britishwadokai@yahoo.co.uk Applicants: Robbie Baldock (attempting 2 nd Dan), Kieran Sampson (attempting 2 nd Dan).

15 Page 15 More Neglected Wado Subtleties! In this day & age, where more & more of the many Wado groups are attempting to change their Wado to resemble other styles, such as Shotokan or Shitoryu, etc., I feel it even more important that we continue to retain our focus on our original & traditional Wado that was passed to us by Ohtsuka Meijin & Suzuki Hanshi - When I look around outside I sometimes despair with what I see... The more time progresses, the more Wado digresses. For example, the almost lost principles of kettetsuki maegeri-tobikomizuki and maegeri-nagashizuki, which we mentioned earlier in the newsletter, within our traditional Wado renraku-waza, which was also explained in great detail in the April edition of Wado-News. The 2nd blocking manoeuvre in Ji han (nowadays more popularly referred to as Jion), and also present in Kata Ji in, now has been seen resembling the more over-exaggerated version of kaki-wakeuke (small wedge-dividing block) (using the wrist & forearm contact) as in Shotokan, rather than the kaki-wake-uke kyusho-atemi-uchi version (as with double backfist strikes), like in British Wadokai, and also taught by Suzuki Hanshi, Shiomitsu Sensei and Sakagami Sensei (who all represent the mainstream Wado styles). This blocking-strike is also present in various Kumite-gata and Ohtsuka Meijin s traditional Tanto-dori. I personally place the blame firmly on the shoulders of the competition orientated splintered Wado groups for these changes; as they seek to pursue aesthetics rather than ascetics and correct Wado fundamentals. Basically, those who deliberately change Wado must be doing it for some reason, aren t they? Pictures: Top; Kette-waza (Maegeri-tobikomizuki), demonstrated by Gary E Swift Kyoshi. Centre (Wadoryu), and Bottom (Shotokan). The two versions of Kakiwake-uke (wedge-dividing block) as demonstrated in Wado (demonstrated by Tatsuo Suzuki Hanshi and Gary E Swift Kyoshi) and Shotokan. (Note the differing arm and hand striking areas, due to position). Where Wado makes uraken-uchi as opposed to Shotokan making kote-uke, with an outward wrist/ forearm-twisting block. NB: The version at the bottom (resembling someone holding motorbike handlebars) is NOT performed in traditional Wado Karate; and we certainly don t want to see any of our British Wadokai students practising this version.

16 Page 16 Nai Hanchi The Wado Kata Nai-hanchi originates from a set of three Kata, known as Naihanchi-Shodan, Naihanchi-Nidan and Naihanchi-Sandan. The Wado Kata Nai-hanchi is the first, Nai-hanchi Shodan. Although Ohtsuka Meijin originally learned all three of these Kata, he only felt it necessary to practise the first (Naihanchi-Shodan). Ohtsuka Meijin learned the Kata from the famous Motobu Choki. Motobu was famous for testing karate in real life combat situations. He also demonstrated a personal dislike towards Funakoshi Gichin, the creator of what became known as the Shotokan style of karate. Ohtsuka Meijin modified the Nai-hanchi he learned from Motobu in order for it to be assimilated into the Wado technique. Later Funakoshi Gichin changed the name of this series of Kata to Tekki. So, for Shotokan Karate practitioners, these Kata became known as Tekki Shodan, Tekki Nidan and Tekki Sandan. In the traditional Wado-ryu syllabus, Nai-hanchi is learned after Ku-Shanku and before Seishan. Although Ku-Shanku is generally looked upon as a culmination of all the Pinan Kata, Nai-hanchi represents the first Kata in the next series which goes from Nai-hanchi to Seishan and then to Chinto. Nai-hanchi introduces a new stance, Nai-hanchi Dachi, and with it different connotations and methods of movement & power generation. Ohgami Sensei states that; 'In short, Nai-hanchi Kata is to train Nai-hanchi stance'. Nai-hanchi dachi is the first of the Uchiwa-dachi or 'inner circle stances'. Others include; (Yoko) Seishan Dachi & Tate Seishan Dachi from the Kata Seishan, and Chinto Dachi from the Kata Chinto. 1 2 Synonymous Stances 1. Nai-hanchi-dachi (Nai-hanchi). 2. Yoko-seishan-dachi (Seishan). 3. Tate-seishan-dachi (Seishan). 4. Chinto-dachi (Chinto), a variation of Tate-seishan-dachi (tate-seishan-no-chintodachi). 3 4 In Nai-hanchi Kata the feet are slightly wider than shoulder width apart and the toes turned in. This position is very important to the whole concept of the Kata. The body twist is one of the most important elements of acceleration in movement, due to the limitation within the stance. Up until this stage, power is created by larger body movements, such as with stepping to punch with Junzuki or with larger hip-twisting movements with Gyakuzuki. Smaller hip-twisting and power generation is created from spontaneous energy release, making effective and efficient movement with resulting maximum effect. Nai-hanchi-dachi Nai-hanchi-dachi is a stance in that allows the performer to create power from, what may appear to be, a relatively small area. The inward-pointing of the toes allows one to direct the power toward a target very close, due to minimal body movement. This encourages spontaneous power generation to greatest effect.

17 Page 17 A Lost Wado Movement in Nai-Hanchi Still Practised Within British Wadokai One of the most important, and misunderstood, subtleties often neglected while performing Nai-hanchi, possibly due to tournament variations (note the left hikite hand movement and position on diagrams 1, 2 & 3 below). When attending many of the all-styles competitions, and observe some of the Wado participants, I very often despair when faced with blatantly neglected Wado technique, which are very often replaced with Shotokan-style additions and replacements. Diagram 1 - Diagram 2 - Diagram 3 - Diagram 4 - Diagram 5 - Diagram 6 From left to right (above): 1. Perform right Jodan Soto-uke. 2. Perform right Gedan barai (note; left arm positioned higher for upward punch). 3. Punch upwards with left Age-zuki (rising punch). 4. Pull arm across into Jodan Morote Soto-uke using the recoil effect from the punch. Below; Ohtsuka Meijin practising the same 'upper-chamber preparation position within Nai-Hanchi. Another Feeble Excuse? We Have Heard Them All! As instructors, how many times do we hear the excuses from our students, Sorry, Sensei, I can t attend the course as it s too far away!, or I m taking the wife shopping!, even Sunday s my day off!, I m tidying my flat!, It s my birthday and I don t train on birthdays!, or the one that really gets me wound-up, I m watching Mongolia play Kazakhstan, on telly, at the World Cup!? For my part, to teach at these courses, on occasions I have taken journeys that have become a 14-hour round trip. Additionally, sometimes I have travelled over that again to attend courses that I have trained at. My own earlier regular Dojo training back in the 70 s, 80 s, & 90 s took between one to two-hours just to get to the local Wadoryu Dojo. If the venue is too far away, or you can t afford the fuel, share a lift (and costs) with those who may also be going. I can understand those who may find it virtually impossible to attend, for example those who have to work (especially shift-work, etc.), but mostly the non-attendances are from people who could very easily attend but don t bother. Ironically, many of the BWK training sessions or courses are in the same location to where many of the students already live (and even at their own Dojo), they simply won t attend (even though the instructor has flown from another country to get here (remembering the poorly attended Sensei Yanagawa 8th Dan Course in 2007 and the Sensei Wataru Shibata 7th Dan Course that the BWK organised last year in Horsham). On our last course we had people from Kent, Devon and Somerset attend a Sussex Course (BWK Standardisation Course Part 4). However, how many local students from Sussex and Surrey were there? In my view, if people can t be bothered to turn up to these training sessions and courses, and have to use feeble excuses to justify their nonattendance, then I look very dimly on their commitment (which would also be reflected, in many aspects and instances, to their own progression in wadoryu). If people can t motivate themselves to do that little extra for themselves, then we (as instructors and examiners) can t be blamed for their results if they perform miserably in their gradings (or at best; having the application rejected because of poor attendance figures). Self motivation and dedication is what gets results, not excuses. It s the difference between waiting at the bus stop and getting on the bus. If you don t actually step onto the bus when it arrives, you ll still be stuck there at the bus-stop!