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					                                 KOSHO RYU KEMPO
                           RANK REQUIREMENTS AND NOTES
                8th       KYU            DACHI NO KATA
                                                             Begin at Hachiji dachi facing #1
              YELLOW BELT                                    Open toe/ heel to Heisoku dachi #1
                                                             Open toe / heel to Fudo dachi #1
KATA                                                         Open toe / heel to Kiba dachi #1
HACHYHENKAY                                                  Rotate right foot on heel to 45 degrees to
       This kata is preformed by jumping from the            Zenkutsu dachi #5
     center position on the diagram below to each
                                                             Rotate right foot on ball to Kokutsu dachi #4
     number in sequence. On numbers 1, 3, 4, 5, and
                                                             Suck in right foot to #7 Neko ashi dachi #7
     7 the hands sweep up and are held open at the
                                                             Lift right foot to ippon dachi facing #1
     moment of landing and the body faces the
                                                             Set right foot in front to Juji dachi facing #1
     direction hopped. On numbers 8, 2, and 6, one
                                                             Right foot slides back to # 6 for a Hangetsu
     hand is held at the level of the floating rib and
                                                              dachi to #1
     one at the level of the shoulder (mix up which
     one). This is a pure Kosho kata and is governed         Right foot up to Kiba dachi #1
     by freedom of movement not rigid rules.                 (Reveres from Kiba dachi)
       Zenkustsu Hachihenkai is preformed by
     stepping to the angle immediately to the left or
                                                         UCHI NO KATA
     right of the angel being moved to and
                                                             The pattern of blocks is gadon barai uke, Soto
     performing a gadon bari uke. This helps to learn
                                                              chudan uke, uchi chudan uke, Shuto uke, augai
     the zenkutsudachi.
                                                              uke,
       Kokutsu Hachihenkay is preformed by
     stepping along the angel being moved to and
     performing a shuto uke.                             SHODAN
                                                             Kiba dachi, turn left into a Zenkutsu dachi to #5
                                                              and perform pattern with left hand.
                                                             Reveres Zenkutsu dachi to # 7 and perform the
                                                              sequence with the left hand.

                                                         NIDAN
                                                         Same as Shodan but turn to left block, turn to right
                                                         same block then turn to left do the next block, turn to
                                                         right same block as last time, ect.

                                                         SANDAN
                                                             Begin by turning to the left and blocking turn to
                                                              the right and perform the next block turn to the
                                                              left and do the next block ect. Then repeat on
                                                              the other side.


                                                         ATAMI NO KATA SHODAN
KRAXBERGER SHIHAN KATAS                                      All strikes are in sets of four the sequence goes,
         These Kata where designed by Mr.                     right inward Tettsui ken, inward Shuto uke,
Kraxberger in the summer of 2001 to teach basic               inward ridge hand, empi. On the forth empi (a
skills to new students. These katas are also designed         left one) throw a left Tettsui ken and continue
to be taught over a long time. Meaning a student will         the pattern on the other side.
learn only the stances block ect that they use in other
Kata at that time. All hand strikes and blocks are      ATEMI NO KATA NIDAN
preformed to #1 on the octagon to matter the direction  Kiba dachi all strikes are right left
actually being faced.                                     Punch to chudon level
         Mr. K > Woodie                                   Vertical fist to chudan level
                                                             Uraken zuki to imagined side of chin
                                                             Sideways palm to floating ribs


                                                Page 1 of 45
                                    KOSHO RYU KEMPO
                              RANK REQUIREMENTS AND NOTES
    Vertical palm to coiler bone on second one
     retract and punch to chudan, continue in the
     reversed pattern.
                                                                           7th KYU
                                                                         ORANGE BELT
JUNI IPPO KATA                                            STANCES
         The foot pattern is the same for all Juni Ippo   HEISOKU DACHI (Crescent Moon Stance): Feet
Kata. All stances are Zenkutsu dachi unless otherwise     are double shoulder width feet are straight. Identical
noted. In Nidon the punch goes to the lower tanden        to the horse stance accept that the opponent’s center is
and an upward block is preformed. In sandon the           framed by the feet.
punch is mid chest and a lower level sweeping block       HEIKO DACHI (parallel Stance): Feet touching
is preformed.                                             each other and pointed straight ahead.
         Robert Tias> Larry K>Woodie                      SHIKO DACHI (Square stance A.K.A. sumo
    Yoi                                                  stance) : identical to the Kiba Dachi but the toes are
    Raise the left hand to shoulder level and retract    turned out 45º.
     it to the right hip in a cover while chambering      SANCHIN DACHI (Hour Glass or three
     the right hand.
                                                          conflicts stance) feet are at 1.25 shoulder width both
    Step punch three times.
                                                          feet are turned in. the feet are pushing to rotate out the
    Open the right hand while still extended from
                                                          knees are pushing to collapse in on them selves.
     the punch.
    Cross step with a left lead Juji dachi to a #4
     front stance.                                        STRIKES
    Make a half circle with the hand beginning at
                                                          TATE KEN (VERTICAL FIST)
     the bottom and moving in.
                                                          TETSUI KEN (HAMMER FIST)
    Punch
    Step and hook punch
                                                          HIRA KEN ZUKI (HALF FIST)
    Step punch twice.                                    SHOTEI (HEAL OF PALM)
    With the hand still extended from the last           HAITO (INNER KNIFE HAND)
     punch, open the hand take one step, then pick        NUKITE SPEAR HAND
     the heals and pivot to #2.
    Reverse punch
    Step then reverse punch 3 times                      KICKS
    Then step and throw a smother like a reverse         HIZA GERI KNEE KICK
     hook/spear-hand                                      KIN GERI GROIN KICK
    Cross the right leg behind unwind to a               KAKE GERI HOOK KICK
     Zenkutsu dachi facing #1 and block
                                                          YOKO KEAGE SHOVEL KICK
    Step up and Yoi.
                                                          KANSETSU GERI JOINT KICK
KNOW                                                      UCHI MAWASHI GERI INSIDE ROUND
Cho Chiku bai                                             SOTO MAWASHI GERI OUTSIDE ROIJNO
    Kigan: Ogamita / praying hands
    Kai ishue: Muta / emptpy / open fist
    HokenP: Hiken / covered fist                         KATA
                                                          PINON SHODAN
                                                               Yoi
                                                               Fall to #3 Hidari Zenkutsu dachi, gadon barai
                                                               Step punch
                                                               Cross behind with the lead leg; turn to #4 gadon
                                                                barai uke
                                                               Shift the front foot into Kokutsu dachi Migi
                                                                Tettsui ken
                                                               Step forward into Zenkutsu dachi and oi zuki
                                                               Shift back to face #1 Hidari gadon barai uke,
                                                                with the same hand augai uke (open the hand)


                                                 Page 2 of 45
                                    KOSHO RYU KEMPO
                              RANK REQUIREMENTS AND NOTES
    Step Migi uagi uke (open the hand)
    Step Hidari augi uke (open the hand)                  E.WATER_?
    Step Migi augi uke (do not open the hand)
    Turn behind to # 4 and gadon barai uke
    Oi zuki                                               ONNA NO UKE WAZA
    Shift front foot to turn to the right to face #3      NOSE SIDE
     Zenkutsu dachi, gadon barai
                                                           EAR SIDE
    Oi zuki
    Shift front foot to turn left into a Zenkutsu dachi   BUNKAI
     to #2 gadon barai                                           A.NAGAE_ B. YAWARA NO WAZA
    Oi zuki
    Step into a haiku dachi and Hidari zuki
    Step out to a Migi Zenkutsu dachi and oi zuki         UKI NO WAZA
     ki-ei                                                 OUTER KNEE
    Shift back foot to #4 turn to Hidari Kokutsu          INNER KNEE
     dachi and Shuto uke                                   BOTH SlDES OF OCTOGONE
    Step to #6 Shuto uke
    Slide front foot back along the line last stepped
     until it meets the other foot then push it to #3      REQUIRED CLASSES
     and Shuto uke                                         KUMITE 1. 2. 3. 4. 5. 6.
    Step to #8 and Shuto uke
                                                           ATEMI NO WAZA 1. 2. 3. 4. 5. 6.
    Yoi
PINON NIDAN                                                NAG4E NO WAZA 1. 2. 3. 4. 5. 6. 7.
JO KATA SHODAN                                             KOBUTO 1. 2. 3. 4. 5. 6. 7.
JO KATA NIDAN
                                                           SHODO
REQUIRED TAPES
PINON 1-5


HSTORY
NAHA,TOMARE & SHURI
YUKINAGA KONISHl
KATO KORIMASA
JIGARO KANO
HIDIORI OTSUKA
MOREI UYESHIBA
CHOKI MOTOBU


KOSHO RESTORITIVE
SEDTION CYCLE
TONIFICATION CYCLE_

A.WATER_ B.FIRE_ C.METAL_ D.WOOD

E.EARTH_?

A.WOOD_ B. FIRE_ C.EARTH_D. METAL_


                                                 Page 3 of 45
                            KOSHO RYU KEMPO
                      RANK REQUIREMENTS AND NOTES
                                           YAWARA NO WAZA
             6th KYU                       FRONT TWO HAND
           PURPEL BELT                     FROM RIGHT HAND
                                           WRIST GRAB
KATA                                       CROSS GRAB
PINON YONDAN                               BUNKAI OF A GRAB RELESS
PINON GODAN
KI NO KATA
OCTOGON 3/8 182                            PROPER GAMAE FOR ONNA NO
JO KATAS                                   ATEMI
     SANDAN-YONDAN                         PROPPER GAMME FOR GRAB
                                           PRPPPER GAMME FOR ROUNDHOUSE
                                           PUNCH
TAPES REQUIRED
BUNNKAI 1-5
                                           HISTORY
GAMAE
                                           SID ASUCION (KENKABO)
                                           EDMUND PARKER(AMERICAN KENPO)
REQUIRED CLASSES                           ADRIANO EMPERADO (KAJUKEMPO)
KUMITE 1. 2. 3. 4. 5. 6.                   ROGER CALLEIJO (KODENKAN KARATE)
ATEMI NO WAZA 1. 2. 3. 4. 5. 6. 7.         TINO TELOSAGOS(LAMA LAMA)
NAGAE NO WAZA 1. 2. 3. 4. 5. 6. 7.         WAITER GODIN (KENPO)
KOBUTO 1. 2. 3. 4. 5. 6. 7.                RALPH CASTRO (SHAOIN KEMPO)
                                           SIMION ELI (THIRD SCHOOL HEAD)
                                           HENRY OKAZAKI (KODENKAN JUJITSU)
                                           SIG KUFERATH (DANZAN RYU)
                                           BROTHER ABE (KAJUKEMPO)


HISTORY                                    KATA DENSHO
GENRAL CHOI                                JUNI IPPO
HWANG GEE                                  OCTAGON
MIAMOTO MUSASHI                            PINON KATA
YAGYU MININORI                             JO KATA
CHOGEN MIYAGI                              NEKO BUTO
GOGEN YAMAGUCtlI
GICHEN FUNIKOSHI                           OCTAGON
                                           3/8 DRILL 1,2,3,4
ARUKI NO WAZA                              YAWARA WAZA WRIST 1-4
KUMITE APPILCATION                         GAMAE 1-4
LEFT LEED /RGIHT
DISTORTION POSITION                        SHU GYO LEVEL
      A.NOSE_ EAR_                         GERI NO WAZA
                                           UKE NO WAZA
ONNA NO ATEMI WAZA                         ZUKI NO WAZA
                                           YAWARA NO WAZA


                                     Page 4 of 45
                                  KOSHO RYU KEMPO
                            RANK REQUIREMENTS AND NOTES
NAGAE NO WAZA                                            Turn 90 degrees
ATEMI NO WAZA                                            Zazen
                                                         Three steps back
                                                     SHIHO (TATSUMU RYU)
KATAS                                                    Take Three steps forward while preparing to
NEKO BUTO SHODAN                                          dwaw the sword
NEKO BUTO NlDAN                                          Turn left and draw in a shomen
                                                         Shomen
NEKO BUTO SANDAN
                                                         Turn 180 dregrees and shomen
JO KATA                                                  Shomen
NAI-HAN-CHI                                              Tunr 90 drgrees to the left and shomen
                                                         Shomen
REQUIRED CLASSES                                         Yoko notoe/chuburi
                                                         Zazen
KUMITE 1, 2, 3, 4, 5, 6
                                                         Three steps back
ATEMI NO WAZA 1, 2, 3, 4, 5, 6, 7
NAGAE NO WAZA 1, 2, 3, 4, 5, 6
                                                     TERMS
                                                     SAYA; THE SHEATH
KESHI RYU                                            TSUBA; THE GUARD
MAEGOSHI (ASAYAMA ICHIDEN RYU)
                                                     HABAKI; PART THAT SEPARATES BLADE
    Three steps forward while preparing to draw
     sword.                                          EROM SEPPA
    Yoko kasa draw                                  TANG; BASE OF BLADE
    Yoko notoe / chuburi                            OBI; BELT
    Zazen                                           IAI HIZA
    Thre steps backward
MUSOGAESHI (SHIDO MUNEN RYU)
    Three streps forward while preparing to draw    REQUIRED TEXT
     the sword                                       WHAT IS SELF-DEFENSE
    Tsuka uatai                                     LAST DISCIPLE
    Turn 180 degrees while drawing in a ichimangi
    Shomen
    Yoko notoe/chuburi
    Turn 180 degrees
    Zazen
    Three steps back
MIGI NO TEKI (KYOSHIN MUYOCKI RYUJ                   REQUIRED SEMINARS AND TAPES
    Three streps forward while preparing to draw
     the sword
                                                     NEKO BUTO AND BUNKAI
    Turn to the right and draw in a showmen         SHODO #1
    Shomen                                          SHlATSU #2
    Shomen                                          S.K S.K. IAIDO SEMINAR
    Yoko notoe/chuburi                              S.K.SK. RESTORATION SEMINAR
    Turn 90 degrees
    Zazen
    Three steps back                                RESTORITIVE
MAWARIGAKE (TAMIN RYU)                               DEFINE YANG CONDITION
    Take three steps forward while preparing to     DEFINE YIN CONDITION
     draw the sword
                                                     WHAT IS THE THEORY OF JIN SHIN DO
    Turn to the left and draw in an ichi mangi
    Shomen
                                                     (WAY OF THE COMPASSIONATE SPIRIT)
    Yoko notoe/chuburi


                                              Page 5 of 45
                         KOSHO RYU KEMPO
                   RANK REQUIREMENTS AND NOTES
OCTOGON 12,6,3
1, 2, 3, 4, 5, 6




                            Page 6 of 45
                         KOSHO RYU KEMPO
                   RANK REQUIREMENTS AND NOTES
                                 CARPENTERS SQUARE
            4th KYU
          GREEN BELT                 HISTORY
                                     AARON BANKS
KATAS
                                     ROBERT TRIAS
NAI-HAN-CHI NIDAN
                                     TOM CONNORS
NAI-HAN-CHI SANDAN
                                     AL REYES SR.
ENN NO GYO SHODAN
                                     AL DECASCOS
TENSHO KATA
                                     TONY RAMOS
                                     STEVE ARMSTRONG
TERMS                                ROBFERT RAPUE
ASHI ATE WAZA (FOOT AND LEG          NISHIYAMA
STRIKING)                            OSHIMA
ATO UCHI WAZA (EEIMING TRICKS)       KUBOTA
BOGYO GERI (KICKING DEEENSES)
CHUSAN WAZA (CENTERING
EXERCISES)
                                     KOSHO RESTORATIVE
                                     HEADACHE
DENSHO (LEGEND)
                                     HIP RELEASE
HYOSHI (TIMING)
                                     BASIC THEORY 0F SHIATSU
JIYU KUMITE (FREE SPARRING TRICKS)
                                     TRACE CONCEPTION VESSEL
KANSETSU WAZA (LOCKING TRICKS)
                                     TRACE GOVERNING VESSEL
KIERU WAZA (DISAPPEARING TRICKS)
KIHON TEKI (FUNDAMENTAL)
NE WAZA (GROUND TRICKS)              OCTAGON
REISHIKI (ETIQUETTE)                 3/8 DRILL 1-5
KOGA KEN KEIKO (REPOSITIONING        ARUKI NO WAZA ALL ANGLES_
WITH SWORD)
KOSHI WAZA (HIP THROWING)
                                     APPLICATION
MA Al (DISTANCING)
                                     BOGYO WAZA
                                     KANSETSU WAZA
TAPES REQUIRED                       KOGA KEN KEIKO
FREEZING                             ASHI ATE WAZA
NAI-HAN-CHI
THROWING
KEYS 1-6
SHODO #2


SHODO
UPWARD CURVING BIT
RISING HORSES BIT
BOWED HORSES BIT
MOTHER DOT
IVORY SCEPTER
HANGING NEEDLE


                               Page 7 of 45
                                    KOSHO RYU KEMPO
                              RANK REQUIREMENTS AND NOTES
                                                             Return to natural stance; have overlapping
                                                              slowly rise with straight arms to eye level.
                  3rd KYU                                    Drop into Kiba dachi and Gedan barai uke to #3
                BROWN BELT                                    hook punch to #3.
                                                             Hidari Zenkutsu dachi to #1 Hidari gadon barai
ATEMI NO WAZA                                                 uke, Migi Gyaku zuki, open hand
1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16,       Bring open hand to left shoulder to cover the
                                                              throat.
17, 18, 19, 20
                                                             Cover throat, left reveres punch while stepping
KANSETSU NO WAZA                                              into a Migi Zenkutsu dachi.
1, 2, 3, 4, 5                                                Bring rear foot up to a Juji dachi, cover throat
                                                              and punch.
BOGYO WAZA                                                   Turn to #4 and repeat, turn to # 1
1, 2, 3, 4, 5 APPROVED                                       Hidari gadon barai, smother with left hand,
                                                              right spear-hand / Migi mai Kari / ki-ei, before
KOGA KEN KEIKO                                                landing.
1, 2, 3, 4, 5 APPROVED                                       Hi/low guard left on top, turn right hand as if
                                                              to block a leg as you are stomping to align a
                                                              horse stance to # 5, when landing slide right
KNOW                                                          hand under imaginary leg and lift into left leg
BUNKAI OF JUNI IPPO                                           do a 180 degree spin when landing throw left
PINON 1-5                                                     then right and left punch down and leave both
UNDERSTANDING OF NOGARE,                                      extended.
                                                             Shuffle back into a Hidari Neko ashi dachi,
NOGARENI AND IBUKI BREATHING
                                                              Hidari Shuto uke.
RADICALS AND DEFINITIONS FROM 1-                             Step forward and repeat 11.
124                                                          Step back and face #1, Yoi, rei
UNDERSTAND AND KNOW WAYS OF
USING TRAINING
MEDICINES                                                TERMS
                                                         CHAKRA
                                                         KIHAKU (ENERGY)
PRINCIPLES OF CAGING                                     TSUBO RYOHO (POINT THEROPY)
ATEMI                                                    KIME (FOCUS)
KUMITE                                                   MON GAKU (STUDY OF CREST)
NAGAE                                                    SHIME (CHOKING)
                                                         TE WAZA (HAND THROWING)
KATAS
ENN NO GYO NIDAN                                         REQUIRED
ENN NO GYO SANDAN                                        KNOW RELATIONS BETWEEN CHAKRA
NAI HAN NO KATA                                          AND THE GLANDULAR SYSTEM
OUTSIDE KATA;                                            KIDNEY 5 P.M.-1 P.M.HIGH OR LOW?
       WANCHU KATA                                       PERICARDIUM 7 P.M.-9 P.M. HIGH OR
       Woodie Rentz< Bonifacio Samson,< John             LOW?
Murphy<Eizo Shimabukro (founder Shobayashi
                                                         SMALL INTESTINE 1 P.M.-3.P.M. HIGH OR
Shorin Ryu karate)
     Yoi, fist horizontal
                                                         LOW?
     Open hands and bring them together, slide left     TRACE TRI HEATER AND GALL
      foot into a parallel stance.                       BLADDER
     Turn out toes to a 45-degree angel, hands to
      side, and rei.                                     REQUIRED CLASSES

                                                 Page 8 of 45
                                  KOSHO RYU KEMPO
                            RANK REQUIREMENTS AND NOTES
SHIATSU #3
WEAPONRY 1&2
NAI HAN NO
ENN NO GYO
SLIP PUNCH
CREATIVE BLOCKING
KUNUTE 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12
ATEMI 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14,
15, 16, 17
NAGAE 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13,
14, 15, 16, 17
SIX SANCTIONED S.K.S.K. SEMINARS 1, 2,
3, 4, 5, 6


JITSU LEVEL
GERI NO WAZA
ATEMI NO WAZA                                                  Like the hours of the day, chi flows
NAGAE NO WAZA                                          through your entire body and its twelve
KUMITE                                                 meridians in a predictable pattern. The flow
KOBUTO                                                 can be plotted through the anatomy by a
KIESHI RYU                                             schedule, which makes each of the bodies’
OMORI RYU                                              twelve major organs separately predominant
                                                       for two-hour periods throughout the 24
                                                       hours of the day. Your kidneys, for example,
                                                       are dominant between the hours of 5 to 1
                                                       p.m. at which time the kidneys and their
                                                       meridian have their maximum concentration
                                                       of energy for the day. If there were an excess
                                                       of energy it would be observable during
                                                       those hours with greatest ease. Twelve hours
                                                       later, when the large intestines are at their
                                                       highest energy point of the day. the kidneys
                                                       are at their low ebb of energy. Thus between
                                                       5 and 7 a.m. would be the best time to find
                                                       low energy problems with the kidneys ,
                                                       should such a problem exist. You will note
                                                       that the circular chart identifies the five
                                                       elements and their primary organs, the
                                                       clockwise rotation of chi from organ to
                                                       organ, the predominant hours of each organ
                                                       and the yin and yang influence over each 24
                                                       hour period. Allowing for the minor
                                                       seasonal adjustments you may use this chart
                                                       to plot the movement of chi through your
                                                       body each day.


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                                KOSHO RYU KEMPO
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                                           Martial Notes

Body Quadrants head and shoulders, chest to groin, lower body
Kata Movement move directly without drawing and no telegraphing
Blocking all blocks rise




                                           Page 27 of 45
                                    KOSHO RYU KEMPO
                              RANK REQUIREMENTS AND NOTES
                                                            SO NO GAMAE--Whole form in Priest Posture.
Breathing                                                    One of the hardest and most conceptual of ways
Ten count breath:                                            to practice.
Solerplexes: ki rises                                       HARD--Hard karate style. Emphasizing strong,
Lower Body: Multiple directions                              perfect, stabile stances and powerful blocks,
Panting: finding direction                                   strikes and kiaks.
Small lean: allows replenishment of ki oin a specific       Speed, mid power. Best way to "sort of" run
area                                                         form. May be the least beneficial way of all to
                                                             practice but it is the most common.
Kata Practice Tips (Miha karberger)
                                                            SOFT--Alignment, multiple triangulations,
    Try to make movement undetectable
                                                             ankle rolling, blending type movement, and
    All blocks should rise
                                                             settling most important here.
    Think in terms of the body in quadrants (uaga,
                                                            SUPER SOFT--Extremely slow like Tai Chi.
     chudan, and gadon)
                                                             Alignments, weight transfer, rotations, and
    Think in terms of zig zage and the muscle
                                                             energy flow. Can eventually be used as a
     groups
                                                             meditation.
    Lots of repetitions of one kata, 30, 50, 100,
                                                            WEAPONS--Do form with a variety of weapons
     instead doing several different kata at fewer
                                                             in either or both hands.
     repetitions. Focus on the concepts addressed in
                                                            REPOSITION THE HIPS--After each move,
     the kata and apply those in partner work.
                                                             immediately reposition the hips to assist and
    Train kata under different circumstances on
                                                             prepare for the next move.
     different surfaces in-door, tile, wood, carpet,
                                                            REALIZE THE LEGS--Every time a weight
     wrestling mats, tatami--outside, brick, concrete,
                                                             transfer occurs, throw a kiak with the new less-
     grass, gravel, dirt, sand and sawdust. Work
                                                             weighted leg. Try different kiaks, and work too
     under different conditions wet, dry, windy, icy.
                                                             different angles.
     Try wearing different clothing, jeans, sweat
                                                            SUPER FAST--Do as fast as possible. There are
     pants, shorts, trousers, shoes, soaks, karate gi,
                                                             maximum time limits for each form in our
     women might want to try kata in skirt and
                                                             curriculum.
     heels. (Pamela Lee did it in Barb Wire, it isn't
                                                            HANDS ONLY--Stand in 1 pre-chosen dachi
     impossible.)
                                                             and run the entire form. Also reposition into
    Pay strict attention to footwork. Similar
                                                             dachi & keep alignments.
     footwork is repeated in lots and lots of kata.
                                                            FEET ONLY--Do entire form while hands are
     That makes me think it might be important for
                                                             still. Emphasizes, footwork, dachi, lower
     one reason or another.
                                                             hemisphere relative positioning.
    Concentrate on the breath portion.
                                                            EYES CLOSED--May want to do with an open-
    Hold my breath and do as much as I can In a
                                                             eyed partner/protector. Watch your angles.
     calm controlled manner.
                                                             Learn to feel each posture.
    Do kata in the dark or with my eyes closed.
                                                            BOX--Do form in a 2-3 foot square box. Adjust
    Start in the middle go to the end then do the
                                                             your footwork. Try doing 1st half of step w/1
     beginning portion.
                                                             leg, 2nd half w/other. Then jump from dachi to
    Do just the footwork.
                                                             dachi.
    Add in the upper body movement after the
                                                            LEFT/RIGHT--Either left or right hand only, or
     footwork is smooth.
                                                             switch form around (if normally start to right,
    Learn the bunki that goes with it.
                                                             go to left).
    Start facing a corner instead of facing a wall. I
                                                            Kata can also be done with any number of
     find I have to concentrate more on my angles,
                                                             different attitudes. Foe example, try doing Neko
     even more so than if I'm outside somewhere
                                                             Buto (Cat Dance) katas to reflect the movements
     without the "box" for orientation.
                                                             of a cat in terms of weight shifting, timing, and
    Practice on occasion on uneven ground. It's
                                                             in various other ways so that it might more
     quite a challenge as your feet don't always land
                                                             closely reflect the movements of "a young and
     where you expect.
                                                             active cat the kind that chases bits of dust in the
    Train kata in unusual places such as Burgerville.       sunlight." Try using the attitude associated with
     It helps to overcome personal fears.                    the Five elements, (as in Pinon Shodan been
    Practice kata and "the" bunkai for e that kata          done to reflecthe flowing-ness of water one time
     extensively.

                                                Page 28 of 45
                                        KOSHO RYU KEMPO
                                  RANK REQUIREMENTS AND NOTES
      and the explosiveness of fire another?) or the 12     Ryu               School of thought
      animals of the Chinese Zodiac, and of course          Sumikiri          Octagon
      countless others are just waiting to be thought       Kigan (ogamite)   Praying hands
                                                            Kaishu (mute)     Open hands
      up.
                                                            Hoken (hiken)     Covered fist
     Train for purely efficient movement. In other         Mon               Crest or gate
      words, be aware of all of the stylistic nuances       Shochikubai       Pine/bamboo/plum
      that creep into you movement. If you open your        Densho            Legend, history, story
      hands during the transition from block to strike,     Waza              Techniques or Tricks
      be aware of what your doing and why you're            Aruku no waza     Stepping tricks
      doing it. If it serves no purpose, or if you always   Ashi ate waza     Foot and leg striking tricks
      do it, try cutting it out. If you feet make big       Ashi Sabaki       Foot movement
      circles on turns, try cutting the corner as quick     Atemi waza        Vital point striking tricks
                                                            Onna              Female
      as possible. Look at the differences and try to
                                                            Otoko             Male
      understand them.                                      Ato uchi waza     Feinting tricks
                                                            Bogyo geri waza   Kicking defense tricks
Japanese Terminology                                        Chushin waza      Centering exercises
                                                            Debana waza       Anticipation tricks
Compiled by Kraxberger Shihan                               Go shinjitsu      Self defense study
Pronunciation:
                                                            Harai waza        Warding-off techniques
                                                            Hyoshi            Timing
Vowel sounds
                                                            Iaido             Sword drawing way
"a" is pronounced like the "a" in father                    Jikaku            Awareness
"e" is pronounced like the "e" in send                      Jitsute waza      Spontaneous practice
"i" is pronounced like the "i" in elite                     Jodo              Short staff way
                                                            Kansetsu waza     Locking tricks
"o" is pronounced like the "o" in cold                      Kata              Forms or patterns
"u" is pronounced like the "oo" in food                     Katame Waza       Holding and locking tricks
"ei" is pronounced like the "a" in fate                     Keiho waza        Structured practice
Consonants                                                  Kieru waza        Disappearing tricks
"c" is pronounced like the "c" in cat                       Kihon teki        Basics
"g" is pronounced like the "g" in garden                    Kime waza         Focus exercises
Many consonants have a double or blended sound to           Koga ken keiko    Repositioning with the sword
accommodate Japanese spoken sounds. This is most            Kokyu waza        Breathing tricks
noticeable in "r/l", "t/d", and "g/k" sounds.               Koshi nage waza   Hip throwing
                                                            Kuzushi waza      Unbalancing tricks
Numbers                                                     Kumite no waza    Crossed hands training
Ichi               One                                      Maai              Distancing
Ni                 Two                                      Maki waza         Rolling-off technique
San                Three                                    Nage waza         Throwing tricks
Shi                Four                                     Nidan waza        Two-step technique
Go                 Five                                     Ne waza           Ground tricks
Roku               Six                                      Nige no waza      Escaping tricks
Shichi             Seven                                    Nuki waza         Displacement, dodging or avoiding
Hachi              Eight                                    technique
Ku                 Nine                                     Orashi no waza    Avoidance tricks
Ju                 Ten                                      Randori waza      Grappling tricks
Juichi             Eleven                                   Renshu            Practice
Juni               Twelve                                   Sandan waza       Three-step technique
Niju               Twenty                                   Shiatsu           Finger pressure therapy
Nijuichi           Twenty-one                               Shikake waza      Offensive techniques
Sanju              Thirty                                   Shime waza        Choking tricks
Hyaku              One Hundred                              Shodo             Calligraphy way
                                                            Tai Sabaki        Body Movement
Other Words and Phrases                                     Te Sabaki         Hand Movement
Kempo          Fist law or natural law                      Tsuki Waza        Punching tricks
Sei            True, pure, correct                          Uchi Waza         Striking tricks
Kosho          Old pine tree                                Ukemi waza        Falling practice
Shorei         Encouragement                                Uke no waza       Blocking tricks
Kai            Family, association                          Yawara waza       Grab release tricks


                                                  Page 29 of 45
                                           KOSHO RYU KEMPO
                                     RANK REQUIREMENTS AND NOTES
Kihon Tekki         Basic Practice                            Morote uke          Augmented Block
                                                              Otoshi uke          Dropping Block
Basic Skills                                                  Shuto uke           Knife-hand Block
Dachi (tachi)       Stances                                   Soto chudan uke Outside Mid-level Block
Gamae               Posture                                   Teisho barai        Palm Heel Sweep
Fudo Dachi          Rooted Stance, Immovable                  Tettsui uke (or Kentsui uke) Hammer Fist Block
Gankaku Dachi       Crane Stance                              Tsuki uke           Punching Block
Hachiji Dachi       Open Leg Stance, 'Figure Eight Stance     Uchi chudan uke Inside Mid-level Block
Hangetsu Dachi      Half-Moon Stance                          Uke                 Block
Heiko Dachi         Parallel stance                           Tsuki or Zuki       Punch
Heisoku Dachi       A natural or informal attention stance
Ippon Dachi         One point stance                          Punches
Juji Dachi          Cross Stance                              Age zuki          Rising Punch
Kiba Dachi          Straddle Stance. Also known as horse      Choku zuki        Straight Punch, also Kara Tsuki
riding stance                                                 Dan zuki          Consecutive punching (same hand)
Kiza no kamae       Kneeling but up on toes                   Gyaku zuki        Reverse Punch
Kokutsu dachi       Back Stance                               Hiraken           Flat Fist or Fore knuckle fist
Naihanchi dachi     Kiba Dachi, but with the feet turned in   Ippon ken         One Knuckle Fist
Neko ashi dachi     Cat Foot Stance                           Kake zuki         Hook Punch
Sanchin dachi       Three Conflicts / Hour-glass Stance       Kizami zuki       Jabbing Punch
Seiza no kamae      Kneeling on both calves                   Mawashi zuki      Round/Roundhouse Punch
Shiko dachi         Square Stance, Four Thigh Stance also     Morote zuki       Augmented Punch or U-Punch
sumo stance                                                   Nagashi zuki      Flowing punch
Tachi               Stance                                    Nakadaka ippon-ken          Middle Finger One Knuckle Fist
Tachiagaru          to stand up                               Oi zuki           Lunge punch
Tsuru ashi dachi    Crane Leg Stance                          Ren zuki          Alternate punching
Zenkutsu dachi      Front/Forward Stance, translation Front   Sanbon zuki       A series of three punches
Knee Bent Stance                                              Seiken            Original Fist, Fore fist, Regular Fist
Ashi                Foot or Leg                               Tate zuki         Vertical Punch
Fumikomi geri       Stamping kick                             Tsuki             A punch or thrust
Geri                Kick, when added to another word to       Yama zuki         A wide U-shaped dual punch, also called
describe the kick                                             Mountain Punch
Hiza geri           Knee Kick                                 Zuki              Punch, use 'Zuki' when you add the word
Kakato geri         Axe Kick                                  to another
Kake geri           Hook Kick                                 Uchi or Tuchi     Strike
Keage               Kick Up, snapping
Kekomi              Thrust Kick (Literally, Kick Into/Straight) Strikes
Keri                Kick                                        Age-empi uchi       Upward Elbow Strike, sometimes Tate
Keru                Kick, this is used when saying kick as a    empi uchi
verb                                                            Empi uchi           Elbow Strike
Mae geri            Front Kick                                  Haito uchi          Ridge-hand Strike
Mae geri keage      Front Snapping Kick                         Ippon tsuki         One Finger Thrust, also Ippon Nukite
Mae geri kekomi     Front Thrust Kick                           Tettsui ken uchi (or Kentsui uchi )   Hammer Fist Strike
Mae tobi geri       Front Jump Kick                             Nihon nukite        Two Finger Strike
Mawashi geri        Round/Roundhouse Kick                       Nukite              Spear Hand
Mikazuki geri       Crescent Kick                               Shuto uchi          Knife hand strike
Ren geri            Consecutive Kicking, alternating kicking Tate empi uchi         Upward Elbow Strike, also called Age
Tobi geri           Jumping Kick                                empi
Ushiro geri         Back Kick                                   Teisho uchi         Palm Heel Strike
Yoko geri           Side Kick                                   Uchi                Striking
Uke                 Block                                       Uraken uchi         Back Fist Strike
                                                                Ushiro mawashi empi uchi Back Roundhouse Elbow Strike
Blocks                                                          Yoko empi uchi      Side Elbow Strike
Age uke             Rising Block
Barai waza          Sweeping techniques                         Types of Practice
Chudan uke          Middle Level Block                          Embu                Demonstration
Empi uke (hiji uke) Elbow Block                                 Kata                Structured practice; form or pattern
Gedan barai uke Lower level Sweeping Block                      Kakari-geiko        Practice where the instructor offers
Jodan uke           Upper/High Level Block                      openings to the student, who must attack the openings
Juji uke            Cross or X Block                            immediately
Kaisho uke          Open Hand Block                             Keiko               Practice


                                                       Page 30 of 45
                                       KOSHO RYU KEMPO
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Mi tori keiko     Watching practice                            Kaicho             Owner of school (organization)
Shiai             Competition                                  Yudansha           Members of the Dan grades
Bugei             Martial arts                                 Mudansha           Members of the Kyu grades
Jujutsu           Gentle art                                   Kyu                Student grade, from 8 up to 1, the highest
Karate            Empty hand                                   Hachikyu           8th Rank
Kobujutsu         Weapon arts                                  Shichikyu          7th Rank
GI                Top of uniform                               Rokyu              6th Rank
Keiko gi          Uniform                                      Gokyu              5th Rank
Zekken            Chest patch embroidered with own name        Shikyu             4th Rank
and dojo name                                                  Sankyu             3rd Rank
Obi               Belt                                         Nikyu              2nd Rank
Hakama            Split skirt, wide legged pants               Ikkyu              1st Rank
Reigi                                                          Yudansha           Members of the Dan grades
                                                               Dan                More advanced grades from 1 to 10, after
Etiquette                                                      attaining a black belt
Arigato             Thank you (informal)                       Shodan             1st degree Black Belt
Domo                Thanks (informal)
Domo arigato        Thank you (formal)                         Practice Hall Arrangement and Definitions
Domo arigato gozaimasu        Thank you very much (very        Dojo              Practice hall
formal)                                                        Ge                Side of dojo opposite shinzen
Dozo                Please go ahead                            Joseki (jo)       High side, shinzen
Gomen nasai         Excuse me, I'm sorry                       Shomen            Front of room
Hajime no saho      Beginning etiquette                        Kamiza            Spirit seat
Joseki ni rei       Bow to the high section of the Dojo        Shimoza           opposite sensei, where students sit
Kamiza ni rei       Bow to kamiza (heritage)
Onegai shimasu Please (asking for something, please lets       Dojo Commands
practice together)                                             Ato                move back
Oshiete (kudasai) (Please) teach me, Let's practice (play)     Hajime             Begin, start
together, shall we?                                            Hayaku             Quickly, Hurry
Onegai otsukare sama deshita A thank-you that is used after    Iai kisogeiko      Fundamental practice
training                                                       Iie                No
Otagai ni rei       Bow to each other                          Ijo                that is all (after recitation)
O tsukare sama deshita        You have become tired (because   Junbitaiso o hajimemasu       Begin warm-up
of the hard work you have done teaching) An expression of      Junbitaiso o owarimasu        Warm-ups are finished
thanks                                                         Kaette             Pivot, change direction
Owari no saho       Finishing etiquette                        Hai                Yes
Rei                 Bow                                        Katana o motte     Get your sword(s)
Reigi               Etiquette                                  Kiai               Shout, yell
Reiho               Etiquette, method of bowing                Kiyotsukete        Be careful
Reishiki            Etiquette, method of bowing                Kogemi             Attack
Ritsu rei           Standing bow                               Mate               Wait
Saho                Method of etiquette                        Mawatte            Turn around
Sensei (gata) ni re Bow to Teachers                            Moichido           One more time
Sumimasen           Excuse me (to attract attention)           Mo motte           More, eg. mo oki, bigger
Tachi rei           Standing Bow                               Mokuso             Close the eyes, meditation
To rei              Bow to sword                               Narande            Line up
Za rei              Kneeling Bow                               Osame to           Replace swords into saya
                                                               Roe                Bow
Ranks and Titles                                               Shitsurei          Excuse me
Gakkusei          Student                                      Suwari kudasai     Please sit down
Ko hai            Junior student                               Tachi nasai        Stand up
Sempai            Senior student                               Tadashi            Correct
Sensei            Teacher                                      Uchimoni           Practice motion
Shihan            A senior, or exemplary teacher, properly     Yame               Stop
used within the school only                                    Yasume             Relax, at ease
Soke              Head of style (actually head of family,      Yoi                Ready, attention
unifier of gods and lineage)                                   Yukuri             Slowly
Hanshi            Root master, source                          Yuru yaka ni       Smooth
Kyoshi            Middle title                                 Aruki              Walking
Renshi            Title bestowed in addition to Dan ranks
Kancho            Owner of school (building, hall)             Walking


                                                     Page 31 of 45
                                        KOSHO RYU KEMPO
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Ayumi ashi         Normal walking motion, back foot slides       Mawari             Swinging around
up to become front foot                                          Seme ashi          Pushing or pressing foot
Fumi komi          Shift forward, as in a strike, using the      Suri ashi          Sliding foot
hips                                                             Tenkan             Moving one foot behind the other to turn
Fumi komi ashi     Foot motion as shifting forward, front        180 degrees
and back slide together, not two different movements
Okuri ashi         Following foot, step forward with front       Directions
foot, then rear foot moves same distance forward to regain       Mae                Forward
original distance apart                                          Migi               Right
Tsugi ashi         Half step, rear foot up to front then front   Hidari             Left
forward again                                                    Ushiro             Rearward, behind
                                                                 Omote              Front
Names of Roles                                                   Ura                Back
Kasso teki           Invisible opponent                          Uchi               Inside, inward
Motodachi            Defender, teacher side in waza practice     Soto               Outside, outward
Nage                 Performer of technique                      Jodan              High
Shidachi (shi tachi) Completing sword. Finishes partner          Chudan             Middle
practice                                                         Gedan              Low
Teki                 Opponent                                    Fukaku             Low
Tori                 Attacker                                    Ichi mon ji        A straight line
Uchidachi (uchi tachi)         Entering sword. Attacker in       Tate ichi mon ji   A vertical line
partner practice                                                 Yoko ichi min ji   A horizontal line
Uke                  Receiver (of technique)                     Chokkaku           Right angles
                                                                 Do                 Degrees, eg. kuju do is 90 degrees
General Vocabulary                                               Heiko              Parallel
Age            Lift or raise up                                  Kakudo             Angle
Ato de         Afterwards                                        Massugu            Straight ahead
Chigau         Different                                         Naname             Diagonal
Chiisai        Small                                             Otoshi             Dropping
Chikaku        Near                                              Shomen             Straight ahead
Dame           Not like that, wrong                              Ue                 Up
Hai            Yes                                               Yoko               Horizontal, to the side
Heta           Unskillful, poorly done                           Asoko              Over there
Iie            No                                                Biki               To move, as in saya biki or hakama biki
Jozu           Skillful                                          Gyaku              Reverse, opposite, inverted
Kogesa         Small form                                        Hantai             The other way around
Kyojun         Standard, basic level                             Kiku               Lower
Machigai       Mistake                                           Komi               Coming close or drawing near
Miru           Look                                              Soko               There, that position
Naza           Why
Ogesa          Large form                                        Anatomy
Oki            Big                                               Nakazumi           Centerline of body
Semeru         Push, press                                       Atama              Head
Shita          Under                                             Men                Head
Shito kokyu    One breath                                        Shomen             Front or top of head
Shizukani      Soft, gentle                                      Yokomen            Side of head
Sukoshi        A little, a small amount                          Shamen             Side of head, temple
Tate           Standing, upright                                 Gammen             Point on face between eyes
Wakarimasu     I understand                                      Me                 Eye
Warui          Bad                                               Mimi               Ear
Tai Sabaki                                                       Jinchu             Center of upper lip
                                                                 Kubi               Neck
Body Motions                                                     Nodo               Throat
Tai               Body                                           Do                 Chest / side of body at ribs
Sabaki            Movement                                       Sui getsu          Solar plexus
Hiraki ashi       Rear foot moves forward and turns to           Mune               Chest
face opponent, front foot turns to establish feet again in       Te                 Hand
kamae but with opposite foot forward                             Te kubi            Wrist
Irimi             Entering                                       Omote              Open / palm of hand
Jiku ashi         Turning foot, the main axis of rotation        Kote               Wrist (forearm)
Kaiten            Turning                                        Hiji               Elbow


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                                     KOSHO RYU KEMPO
                               RANK REQUIREMENTS AND NOTES
Kata             Shoulder
Ude              Arm in general
Ura              Back of hand
Yubi             Finger / toe
Koshi            Hip
Hara             Abdomen
Tanden           Centre of balance, below navel
Seika tanden     As per tanden
Ashi             Foot or leg
Ashi kubi        The ankle

Philisophical Concepts
Budo             Way of war
Bushido          Way of the warrior
Dai kyo soku kei Big strong fast smooth
Fudoshin         Immovable mind, calm spirit
Fukaku           Personal character
Gokai            Grandeur, large, full motions
Heijishin        Ordinary mind
Jo ha kyu        Slow, faster, fastest
Ki               Spirit, energy
Kiai             Spirit/breath union, shout
Kime             Focus, sharpness of movement
Kokoro or Shin   Heart/mind
Kokyu            Breath, breath power
Ma               Distance, space, interval (in time)
Maai             Mutual distance (in space)
Mushin           No mind, no rationalization
Muga             No ego
Munen            No thought
Riai             Unification of action and theory
Sei              Motionless, inactive
Shu ha ri        Absorb, digest, omit. Memorize, question
and understand, forget
Sutemi           Sacrifice technique, accept a blow to
deliver one
Zanshin Lingering mind




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                                       KOSHO RYU KEMPO
                                 RANK REQUIREMENTS AND NOTES
                                                                  him so happy he would cry out, "Thank You!

                   History                                        Thank You!"
                                                                           His friend asked why he cried out, "Thank
                   System Founders                                You!" He replied, "I could have been injured.
Na Hata                      Kanreo Kega Ona                      Because of God's mercy, I have not been injured.
Wado Ryu                     Heda Norie Otstuka
                                                                  So, I said my gratitude to God."
(Shotokan)
uhachiku                     Sanda Kang oose-u-ryu                         On another day, when he was 127 years
Judo                         Gigoro Kana                          old, he almost received a bump on the head from a
Dansen Ryu                   Jujitsu Henry Okosaka                falling tree branch, but again he jumped and
Uahci Uachi                  Kanbun Uachi
                                                                  escaped from being injured. He again cried out,
Shindo Gaiaen Karate         Yasu hero konishi
Shorinji Ryu (Sholin)        Chotoken Kain                        "Thank You' Thank You!"
Shorinji Kempo (Sholin)      Doshen So                                     One day, when he was 130 years old, one
Amarican Gojo Ryu            Peter Urben                          of his good-hearted disciples got sick. Great Grand
Ki Oko Shin Karate           Masakatsu Oyama
                                                                  Master went to visit him. He told his disciple,
Okanowen Gojo Ryu            Chojan Meogai
Ishen Ryu                    Tatsuo shima Buku                    "There are many people suffering from sickness in
Shotokan Karate              Gegin Funokuhsi                      this world, many worse than you.
Te Kwan Do                   Genrol Choi                                   "Because of God's help and mercy, you are
Shorn Ryu                    Chosen Chibana
                                                                  not suffering much. You should thank God." He
                             CobiashiChoso Makama
                             Matsubiashi       Choshen            then prayed, and cured the disciple by using the
Nagamina                                                          Kosho-Shorei energy-healing art. Then, he cried
Sport Karate                 Gogen Yama Guechi                    out to God, "Thank You! Thank you, for healing
Kajukembo                    Emporato- Official Self defense
                                                                  my disciple."
club
                             Joe Holck                                     When he was 137 years old, he was
                             Clarine Chang                        returning home late from a friend's house. Along
                             Peter Chu                            the way, a ferocious looking bandit leaped from
                             Frank Ordenes
                                                                  behind a bush. The bandit whipped out his sword
Goshindo Kempo     William Chow > Bill Chun
                                                                  and demanded money. As the bandit turned to go,
                                                                  he cried, "Thank You! Thank You!"
                    Gathered Papers                                        The bandit turned in astonishment,
                                                                  realizing whom he had just robbed. He knelt in
                                                                  front of him and returned the money. The bandit
 From Mitose's "In Search of                                      said, "I'm sorry. I know you are the Great Grand
       Kenpo," p. 38                                              Master of Kosho-Shorei True Self-Defense. I have
THE HONORABLE GREAT GRAND MASTER                                  heard of your skills. You could have escaped
        (THANK YOU-MASA)                                          easily, but you gave me money and you said,
                                                                  'Thank You! Thank You!' Why?"
         In the town of Kumamoto, in Southern                              Thank You-Masa replied, "I thought you
Japan, lived a Great Grand Master of Kosho-Shorei                 might injure me with that sword. You chose not
True Self-Defense. He was also a master of                        to. Suppose it had come to a fight, you might have
psychology. When this story happened, he was                      injured me. Fortunately, in God's mercy, this was
120 years old. His real name was Masa-yoshi                       all avoided. So, I said thank you to God, and also
Kosho, but everyone called him "Thank You-                        to you."
Masa".                                                                     The simplicity and beauty of this
         Why did they call him that? Let us watch                 statement so affected the bandit, he gave up his
and find out.                                                     evil ways. He became a disciple of Thank You-
         Each morning when he awoke, he would                     Masa's. After years of devotion and study, the ex-
blink his eyes and look around. He would nod to                   bandit became a well-known Minister of Kosho-
the morning sun, and the chirp of the bird would                  Shorei True Self-Defense. People called him
bring a smile to his face. The sounds of his family               "Number Two Thank You-Masa" and they also
would make his smile grow wider. He believed                      called him a Saint.
that it was the mercy of God and Mother Nature                             When Thank You-Masa realized God
that he did not die during the night. He rejoiced                 finally was calling him to heaven, at the age of 150
that he had another day to enjoy nature, his                      years, he gathered his family, friends and disciples
family, his neighbors and his friends. This made                  before him. He told them how grateful he was for
                                                                  being born a human being.


                                                        Page 43 of 45
                                   KOSHO RYU KEMPO
                             RANK REQUIREMENTS AND NOTES
         If he had been born an animal. such as a                           My name is Larry Kraxberger and
dog, cat, horse, or cow. He would have had no             I have been studying Kosho Shorei Ryu Kempo for
control over anything. He was thankful to have            the last eighteen years. Prior to that I put in a few
been a human, so as to have some control over his         years in other disciplines. I feel fortunate to have
destiny. He told them that if we forget to give           made contact with some remarkable people
thanks, we are less than the animals. This is             during those years and hopefully this resource
because all animals have a sense of thanks.               will continue the process. I was added to this list
         "So, always remember to give thanks, first       through the enthusiasm of Steve Miller. While I
to God, then to others." He nodded his head, and          will likely keep track of general conversation it is
cried, "Thank You! Thank You!" Then he smiled             unlikely that I will have much time to add to the
and passed away.                                          flow of information. I think that it is an interesting
                                                          option and I forgive Steve for his eagerness and I
                                                          don't spend a great deal of time online. This piece
            SPECIAL NOTE                                  is by way of introduction.
                     Remember, do not forget
  Thanksgiving Day. We should think that every
                                                          SKELETAL FREEZING: Basic Principles and
 day is thanksgiving day and give thanks to god,
                                                          Philosophy
 Jesus Christ, Buddha, human beings and nature,
  including animals, birds, fish, plants and other
                                                                    All martial arts are identical. They all
                      things.
                                                          employ the same raw materials with the same
                                                          general intent. What differences are noted in
                                                          various martial applications are the reflections of
                                                          the cultural origins, historical perspectives,
                                                          environmental resources, philosophical
                                                          foundations, and the interpretations of the
                                                          individual practitioners who bring their wishes,
                                                          biases, prejudices, and egos to their study.
                                                                    There was a time when the sharing of
                                                          information with people from outside your school
                                                          was unthinkable because it might give away the
                                                          one secret on which you depended for the
                                                          protection of your life. Today, that attitude is only
                                                          found in the fantasies of people who are too
                                                          paranoid to genuinely trust their martial study. I
                                                          have been commissioned by my teacher to share
                                                          what small insights I can with anyone who is
                                                          interested in learning. If I believe that this study
                                                          has the power to change lives, and I do, then I
                                                          must be willing to share it with anyone. No one
                                                          needs preachers who only sermonize to the choir,
                                                          ships are secure when they are at rest in the harbor
                                                          but that is not what ships are for, and the forests
                                                          would be a quiet place if only the most beautiful
                                                          bird were allowed > to sing.
                                                                    I am addressing this message to Turiyan
                                                          but it is also meant for anyone who decided that
                                                          because of that person's poor first impression they
                                                          should be denied access to information which is
                                                          readily available to anyone who has ever watched
                                                          a child learning to walk. The only true value in
                                                          sharing information is in breaking down barriers
                                                          to communication. Never fear that someone can
                                                          steal your martial arts knowledge. If the sum of
                                                          what you know of the martial arts can be stolen
                                                          then you have barely scraped the surface of the


                                                Page 44 of 45
                                     KOSHO RYU KEMPO
                               RANK REQUIREMENTS AND NOTES
study. The surest way to learn an art form is in
freeing yourself from fear and conflict and I hope
that Turiyan can do that. (Incidentally, Robert,
there is a world of difference between turning the
other cheek and sharing some simple
observations. If Turiyan can share and learn then
it is a good thing and if he can't then it is a sad
thing.)
          The great difficulty in attempting to share
insights into an art form is in recognizing that no
matter what you say the only important
information is what the person that you're sharing
with hears. James Mitose said that words are a
difficult means of communication. I sav that he
understated the problem. The term "Skeletal
Freezing" is just a way of describing the temporary
inhabitation of natural body movement.
          Gravity is an extremely powerful,
consistent and reliable force which seeks a natural
state where all things that are standing eventually
fall down. The body's skeletal and muscular
systems resist this state, as much as possible,
throughout one's life by following a series of fluid,
three-dimensional rotations. Freezing is nothing
more than putting one part of the body in a
position where gravity can do what it does best
and the body cannot adequately recover.
          Since no part of the body can move
independently of the rest of the body it also holds
that if one part suddenly stops moving naturally
the rest of the body must over-compensate.
          At it's most elementary level, the freeze is
initiated by the tightening or redirecting of one
major rotation while motion is occurring. Skeletal
freezing is not a study in anatomy, or kinesiology,
or postural manipulation. It is, first and foremost,
a study in developing greater awareness skills and
in applying those skills as honestly as possible.
Try to keep this training as simple as it already is.
Most of the necessary change is in recognizing this
simplicity. Kosho Ryu is not what you think.

        Uncle Larry




                                                  Page 45 of 45

				
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