karate

Oath

Karate is my secret, i bare no weapons

I carry myself in an humble manner

I pray for forgiveness if i ever have to use my karate knowledge

Peace is my shelter

Conscience is my guide

Beauty and perfection is my life

As a student of the universal shorei-goju karate system,

I will ever flee from an enemy

I will never retreat from pain

And i will never give up if attacked

When in battle i will give my opponent 110% of my aggression

This si the universal shreou goju karate system spirit

Master Ben Peacock

Shujin Master Benjamin J. Peacock is a Hachidan or eighth degree black belt in the Universal Shorei-Goju Karate System. Ben became interested in the martial arts in October, 1966 when three assailants approached him and his friend one Sunday night and took several sentimental items from him while his friend escaped and did not warn or alert anyone of his obvious problem and situation. After the robbery was completed, Ben was released due to an intervention of a woman looking out her upstairs window and voiced loudly that she had called the police and they were on their way. Ben realized at that very moment he must make a conscious effort to depend only on himself when it comes to personal security, if he were going to achieve a career in the city of Chicago. Ben was neither confident nor had he used a gun or knife as a defensive mechanism, so he opted to seek another form of self-defense to address his need for personal security. Ben visited all types of human survival gyms such as boxing, wrestling, judo and etc.,

and decided on karate as the primary option he would seek out and research.

Because of his small stature, Ben eliminated any defensive study that the primary focus was on engaging another body and the techniques were derived mainly out of physical strength such as Wrestling, Judo, and etc. Boxing was eliminated as he saw too many hits to the head and it was somewhat linked to the length of an individual's arm. Ben investigated as many as fifteen martial arts academies and was turned down for training because of race issues, his size and his financial limitations. He was told by one of the martial arts centers, after they had turned him down for training, that if he really wanted to train in the martial arts then he'd have to find a black instructor as no white instructor would teach him. Before leaving this particular center, one of the instructors pulled Ben to the side and advised Ben of a martial arts instructor on the South Side of Chicago by the name of Jimmy Jones who would teach him. At first Ben felt the black belt was simply trying to be apologetic for his school and was simply tailing the reply by giving Ben un-sound information. However, when Ben visited the school of the South side instructor, he was astonished at the way he moved and taught his other students. Ben was doubly impressed as he saw the school was of mixed races, both black, white and Hispanic. Master Jones had won him over before he asked about enrollment. Master Jones was a first degree black belt at that time and had won many awards across the country in martial arts.

Master Jones explained to Ben that he would have to work three times as hard in all aspects of the martial arts as the other trainees to make up for his small size. Ben was no stranger to hard work and agreed to enroll in the training sessions.

Ben did work very hard and became one of

the top martial artist across the country competing and winning National Championships in Kata, Sparring and Weapons.

One of Ben's accomplishments is that he entered 21 martial arts

championships and won 1st place in all of them.

Even today, his record has not been broken.

Master Jones saw Ben's potential and began to work him even harder and take him to tournaments across the country to compete. Due to this intervention, Ben met tremendous personalities such as Victor Moore, Robert Trias, Bruce Lee, Sonny Ono, George Hu, Bong Yu, Ron Vanclief, Hidi Ochi, Bob Bowles and many more prominent names in the martial arts. 

Master joy calvert

Master E. Joy Calvert, is a Schchidan or Seventh (7) degree black belt in the Universal Shore Karate System. Joy became interested in Martial Arts in 1972. After five years of extensive tra she acquired her first degree black belt under the instructions of Shujim Master Ben reaco Grandmaster Jimmy Jones Jr, in 1977. Her black belt test was a long and extensive process of eight Sensei Calvert became a very aggressive competitor, winning the Women's sparring champions 1977 and maintaining that honor until 1979. She received the honor of first place in kata and first place in sparring at the Tournament of the Century held in Chicago, Illinois at the Arie Theatre in 1976. This major tournament was hosted by Grandmaster James Jones Jr.

And w

most publicized martial arts event in the Midwest at that time, bringing in celebrities such as Jim During her training, Master Calvert traveled throughout Europe and Germany teaching the Uni Shore-Goju Karate System. Upon returning to the United States, she resumed her role as as instructor under Shuin Master Ben Peacock where she received the honor of 4th degree blac after extensive testing in 1994. She was also required to maintain a standard process of s development theories while validating her promotion as to be used as a guideline for development and training of students. She traveled throughout the state of Mississippi along Sluin Master Peacock, visiting southern karate schools and teaching the system to them. For weeks, they traveled until there were rumors and threats of uprisings by the Klu Klux Klan in th and was forewarned to cancel their visits until the threat of danger died down. After returning to the Chicago area, she and Shujin Master Peacock went their separate ways until 1987 when she When coming at his dojo located on the north and one on the south side of Chicago. Master then committed to the development and documentation of the new martial arts system Shujin Peacock had developed while she was away. Along with her qualities as an educator, Master aided Shaji Master Peacock in writing six training manuals for the newly developed marti system. Together they developed a training manual and requirements for students for each li promotion or rank. They also developed written, oral and physical exams for each level of Master Calvert began to develop classroom teaching methods to be used as black belt guidelines for wives were qualified under the system to teach students the Universal Shorei-Goju Karate System Master Calvert has won over 250 trophies and awards throughout her competitive career from

1985. She is new the business partner with Shujin Master Ben Peacock at 3 Circles School of and Physical Fitness, Inc. and is also the head instructor at her daughter's martial arts academy Maneson, Minois, Tres (3) Circles School of Karate which she helped in the original opening of the

The art of not fighting

Why is our system of karate called "The Art of Not Fighting"? Not to be confused with Bruce Lee's expression "Fighting without Fighting", this art is designed to prevent an opponent from having the mechanical ability to successfully launch an attack on you. When the Western World saw martial arts executed against an opponent for the first time, they immediately thought of it as a superior way of fighting.

They didn't conceive all of the internal growth that was essential to the development of karate. They totally overlooked the immense amount of discipline that went hand in hand with the martial arts along with respect and honor. Even though superior physical fitness was necessary, it was only a small portion of the entire make up of karate. As a young man, I learned the physical portions of the martial art and was vaguely introduced to the mental aspects of it and had to seek enlightenment from other sources.

When I was attacked in the streets of Chicago, the physical portion of the art in which I had learned did not fare well with the chaotic environment relating to my attack. Therefore I had to develop other means that would give me advantages over my attackers when approached in the street. The advantages that I developed emphasized the approach of an attack rather than the attack itself. Although the foundation of our art stemmed from Shorei-Goju Karate, this system differs in a variety of ways such as the fact we don't block, we control. Our approach is based on what we call the 2/5th (Two fifth) theory and our defense is made up of a circle, square and triangular defensive method and theory. There are several other differences, but you must study the system further in order to understand them and execute them properly.

Remember, in a fight, you exchange blows with your opponent, but in our system we do what is necessary not to exchange any blows with an opponent. All of what we do in our system is geared toward the elimination or disabling of the opponent's ability to launch a successful attack on us. Therefore, if blows aren't exchanged between two or more individuals then there is no fight. This is the very core of our system which makes it quite the most effective system around if taught and learned effectively and sufficiently. We emphasize testing in our system and we control the recipe of what is being taught to our students to assure that our students have a strong foundation of the fundamentals of our system. A student should be tested at least every three months and should be taught only on level one of our 5 levels of training. After reaching black belt, a student should enroll in our chamber of knowledge to receive the other 4 levels of training and development as this is crucial to advancing within the system.

Karate History

Daruma was the founder of Karate. He crossed the Himalayas from India to China to teach

Noticing that the monks were weakened from many hours

the Liang Dynasty Monarch.

learning and meditation, he began to teach them a system of physical and mental discipline embodied in the I-Chin Sutra, which he had been taught, or developed, while traveling through the mountains taking notice of several different animal forms and how the animals defended an attacked for food and dominance in the wild for self preservation and ultimate survival The monks became known as the most formidable of fighters. In later years the art they practiced can be called Shaolin-Szu, or Kempo, which means "Fist Way". Okinawan's combine Chinese Kempo with Okinawa-te (Okinawa style of Karate) and further designed, developed and

About 500 years ago the famous King Nashi

advanced it into a form of empty-handed fighting.

succeeded in uniting the Ryukyu Islands into one kingdom. To ensure rule by law, all weapons were seized from the people and it was made a crime against the state to possess any weapon. About 200 years later, the confiscation of weapons occurred again and were all banned. During the centuries Okinawa was occupied by Japanese lords and the art of empty-hand fighting ("Kara" meaning empty and ("Te" meaning hand) cultivated to its most advanced platform. Through many years of secret practice the Okinawan's became so proficient they could attack and destroy the king's soldiers with bare hands. Their weapons (hands, feet, fists, etc.) were as effective as any weapon of that time during the 16" Century The Okinawan's attacked and overthrew a small Japanese occupational force with no weapons other than the use of specifically designed and developed martial arts empty hand techniques. The next important chapter in the progress of Karate took place in Japan around the 20" Century. The Okinawan Grand Master, Sensei Chokun Mobotu, was so radically anti-Japanese that the Okinawan's, who were subjects of Japan, were afraid to send him to show the Japanese the science of self-defense Instead, they sent a more polished gentleman of lover rank Gichin Funkochi, who we consider the modern day founder of Karate.

Gin Funkochi was born in Shun, Okinawa in 1869. At the age of eleven (11) he began studying Karate under two top Masters during that period. Upon arriving in Japan, around 1917, he began to teach his system of self-defense as he continued to learn from the Masters and the Japanese. Many of the Japanese hand-to-hand fighting techniques were added to his system and Karate again improved to a new level. He stayed in Japan and married. He traveled throughout the country giving lectures and demonstrations on self defense. He opened several dojos and accepted only the most worthy students. He introduced Karate to the schools and to the government of Japan, From here Karate began to grow and eventually spread to the Western World. The individual we credit for introducing the systems of Karate in the United States is Master Robert A. Trias. Master Trias studied in Okinawa and introduced the system in the United States by opening a dojo in Phoenix, Arizona. The system maintained the respect and discipline required by the Japanese Masters, even while in the United States. This tradition continues at 3 Circles School of Karate by MASTER BEN PEACOCK and MASTER ESSIE CALVERT

Tradition about your Obi

There is a tradition in the Universal Shorei-Goju Karate System about the care and the wearing of your obi. Some karate systems allow you to wash your obi, but we frown on it as we feel you're washing away all of the experience you've had while wearing your rank. At the onset of karate, all belts were white for purity and as you trained in the art, your belt began to become darker and dingy as you worked and sweated in it. Eventually, your belt became so filthy from you constantly putting it on and working out in it, that it almost looked black. This is why they call it a black belt. It illustrated your consistently working out and your dedication to perfecting your techniques. If you never wore the belt or worked out in it, it would not show the evidence of use.

Therefore, when you wash your belt, you actually wash away all of the experience you've had in your development of your technique or martial arts training, which is considered a valuable loss.

Try to keep your belt from dragging the floor or putting it in a place that would disrespect the belt such as dropping it on the floor or balling it up and tossing it on a shelf. Elements of dirt and grit that are acquired from laying the belt around have nothing to do with your training in the martial arts. The color or dinginess of your belt demonstrates your aggressive work and dedication to the art. It illustrates your dedication to your training to the point where your sweat marks your level.

Colors of belts started to appear when students wanted to actually see their rank or hierarchy over other students. This is when ego evolved into martial arts training and humility began to leave it.

Thus began the downward sparrow of martial arts training. Be proud that an instructor takes the time to train you and discard all selfishness of your advancement over others as your advancement comes with responsibility to others and not ego. When you grasp your belt with both hands, you also grasp discipline, honor, respect and humility.

THE ELIMINATION OF BLOCKING TECHNIQUES

Blocking techniques has been one of the most significant parts of the martial arts movement since being brought into this country. However, when you actually become familiar with the fundamentals of the martial arts technique and train yourself to apply them properly, blocking takes on another task and is not necessarily needed for our purpose within our system is not a realistic option.

2. If stances are worked properly, blocking can be totally eliminated. Each stance is designed to move the body from direct contact with a blow or kick. Therefore proper use of stances can eliminate blocking techniques altogether.

3. Blocking means to obstruct one's direction or passage by placing an obstacle or structure in its way. This definition goes against the very reason for our stances and moving techniques.

Rather than obstructing an opponent's passage, we prefer to control their direction or ending point. When proper stances are used to evade blows and kicks rather than blocking techniques, controlling techniques (deflecting) may be used to gain an advantage over an opponent by controlling the techniques which are thrown at you while also controlling the direction of the opponent.

4. Controlling techniques doesn't change the fundamental design of the blocking techniques, just the mental approach in which it is being used. A blocking technique simply stops the projection of a blow or kick while a controlling technique traps it, redirects its force and uses it to minimize an opponents ability to retract their blow to use it again and again.

Therefore, in the Universal Shorei-Goju Karate System, blocking techniques no longer exist in its original form of self preservation but takes on a new form of protection called controlling techniques or Seigyo Waza.

Physical aspect of karate:

must also consider conditioning.

Conditioning of the

mind, body and spirit. If karate-kas lack proper discipline along with proper frame of mind, the other two attributes; body and spirit will surely suffer. In our system of martial arts, The Universal Shorei-Goju Karate System, we seek perfection rather than

protection, for the result of perfect practice is indeed superior protection. Once you acquire a mental level or state of mind to seek perfection in your technique, you're automatically guaranteed the protection that results from it.

Everyday a workout session is

available to you, you must approach it as your

personal and most valuable time to obtain your level of perfection. When the mind is at this peak, the body and spirit will consequently benefit from any workout you participate in.

Each day you should condition the

body to take another step toward becoming a superior super human.

Eventually, the three entities will be

united into a force of unparalleled power that is virtually impenetrable.

When your opponent cannot

break neither your mind, body or spirit, he has no other option but to retreat. Don't waste conditioning time being idle, un-wasted time will insure your personal security at its highest level. Don't try to get it all at once, for this will cause each entity to break down and lose synchronization, therefore deteriorating and leaving very little to gain from your efforts. Too much of anything too soon is as bad as not enough of anything too late. Develop patience, perseverance, and consistency when working on your most prized possessions.

Those valued possessions are mind,

body and spirit. Do not look about to see if others have surpassed you or haven't caught up to you yet.

If they've surpassed you during training, take the initiative or challenge yourself to catch up. If they're lagging behind, take the opportunity and responsibility to help them to catch up to you. A good partner is another great asset you will also find is invaluable in your quest to obtain perfection.

Why do we stress conditioning so much? Great conditioning simplifies the training process in self defense and alleviates some injuries that may occur if you weren't in good condition. If a karate-ka is in good enough conditioning to shatter several boards or bricks, why then should fancy or elaborate defense forms be developed for his personal security. every strike or blow you apply to your opponent is that of breaking several boards or bricks, then it would not matter as to where you strike the opponent, if each blow is a breaking or disabling technique.

However, in order to train the body to support that type of pounding or forces delivered to an opponent at different angles, levels and stresses, specific defense training is highly recommended. Good conditioning in its pure ultimate form simplifies defensive strategy as it eliminates reason to place your defense on specific marks or targets. For quick kills or quick demise of an opponent, specific target training is highly recommended. As you can see, the training process must be designed to accomplish specific goals you may have in mind. Conditioning, however, makes either goal in training much easier and more efficient.

One of our theories in the Universal Shorei-Goju karate system is "If you touch it, break it." For this reason alone, martial artists must realize the importance of ultimate conditioning both mentally and physically.

Years ago during war time in Japan, there was no time to work formal self defense as you were surrounded by the enemy and allies. One blow would have to do the job or you may be subjecting yourself to enemy attack from the side or from behind. Your technique had to be such that your opponent was downed on contact to give you ample seconds to target and deal with the next one. All three entities (mind-body-spirit) had to be conditioned to function synchronously in order to survive the battle without major injury.

Mental aspect:

In discussing the mental aspect of karate, we must examine your state of mind.

A Samurai Bushi would

wake up every morning and think to himself "Today I may die in battle." courage,

would be "Receive all

His mental state, based on his

arrows in your

forehead, but never in your back." Therefore, it is an honorable death to die with all your wounds in front of you.

The mental aspect must be cherished as an important part of the martial arts training process. If you felt you were going to die in battle on a specific day, then you could not afford to have a negative or poor mental state of being. The fact that you were alive brought new meaning to "Live to die another day." The portion of the samurai's life in which he was not engaged in battle was spent with the highest priority.

Time was not wasted on

non-significant things. Everything was done as if it was the very last thing they would see, hear, touch or smell or do. Nothing was taken for granted. A mental breakdown was not only a dishonorable trait to the samurai, but it was thought to bring along with it a dishonorable defeat. A samurai could not bear the thought of defeat but would rather die than to retreat.

As soon as a samurai opened his eyes, he was about the business of obtaining perfection in all that he did.

Meditation became a huge part of the mental aspect of martial arts as it was known to calm the spirit and unite the three trinities(mind-body-spirit). The samurai worked just as hard on their approach to death as they did on the ethics of dying. Ethics to the samurai was the moral duty and obligation of what was good or bad, right or wrong in the conduct of a warrior. Today's teachings of the martial arts are rapidly discarding the ethics of combat and battle, winning and defeat. One's mental strength should accommodate their physical strength. Therefore in training, one must prepare for defeat as well as victory. i honor i forty thing them,

best battle even if it did not match up to theirs. Also in defeat, shame doesn't come in being defeated but in how you handled the defeat. In training, one must prepare both mentally and physically to be on top of their game. It has also been proven that meditation supports good health.

Never get into a mode where you feel you will put forth your best effort, only when the time has already come to battle.

Do your best, as well, in your training which will result in being all you have when in battle.

Some trainees feel "TIl punch harder or kick better when or if I'm attacked." That's the mental breakdown a samurai would consider dishonorable. The samurai believes the way you train will be the way you battle.

In the Universal Shorei-Goju Karate System you must never complain that you were cheated even if the fact is true. The only reason anyone would have to cheat you is the fact they feel you are much better than or too much for the one you are battling. However, if you always keep your foot in your opponent's mouth, so to speak, then there would be no option of cheating. If your opponent is always running from your offense, the only option left is that of cheating. If you are the only one doing all the hitting then again there is no option for them to cheat because you are the only one that hit something. Make sure you are doing the best you have been taught to do while in battle. Do not try to excuse your failure of exercising your superior training by complaining that someone cheated you.

Cheating is an element

that can be eliminated by dominating your opponent, not by simply defeating your opponent.

Moral aspect:

The moral aspect of the martial arts training as we have mentioned is directly related to the mental aspect.

The codes of the samurai were the bible of moral conduct before, during and after a battle.

Bushido

was never a written code, being communicated directly from leader to follower.

Its early development

incorporated Shinto and Confucian ideas such as ancestor respect and filial piety. (*Loyalty befitting a son or daughter) During the Kamakura period (1185-

1333) the concepts of loyalty and bravery came to be particularly valued by the bushi. The dojo rule placed emphasis on individual duty rather than on individual rights.

It modified Shinto Confusian thought by making filial piety secondary to the loyalty of a subordinate to his superior. Women were given no special exemption; they were expected to exhibit the same loyalty and bravery as men.

Zen gave the

warrior a firm foundation of spiritual strength on which he was able to build his loyalty and bravery; but in its distaste for book learning, Zen fell into conflict with Chinese learning. The bushi of later periods, however, became very eager to learn. Zen brought to bushido a method by which the warrior could die well. Dying was included within the bushi's sphere of duty and brought about the regulation of his life. As expressed by Oswald White; In Japan poets and romantic writers liken the warrior to the cherry blossom. The cherry tree was cultivated not for its fruit, but for its flower, which the Japanese have taken to their hearts as the symbol of piety, of loyalty, and of patriotism. Its beauty is short-lived. The moment the tree is decked out in ethereal beauty, then next a wind arises and the petals flutter to the ground.

Therefore, Zen took on an important role in life for the samurai. But there is no cause for tears because next year the tree will present the same brave display.

The life of the warrior was like that of the cherry blossom, it was dedicated to his country and when the time came it was laid down without hesitation.

The

samurai took on moral responsibilities and obligations in order for their death to be one of honor. Wisdom to the bushi did not mean knowledge of the conceptual  type. For the warrior, a literary man "smells of books" and is compared to an "ill-smelling vegetable" that requires boiling before it is fit for consumption. Thus, knowledge for the bushi became knowledge only when it was absorbed so as to become part of the person. It was not to be pursued as an end in itself, but as a mean of self-perfection and wisdom. It is this level of knowledge that came to permeate the disciplines of the bugei and bring about their maturation as budo (martial way)

The samurai therefore, became some

of the smartest individuals that walked the face of the earth because of their dedication and loyalty to their masters.

They would in no way bring shame

on their masters by being warriors of illiteracy or unknowing. It was their duty to obtain this portion of self perfection in order to have an honorable death.

In a manner of speaking, martial arts should be a symbol of education and learning for the individual seeking perfection of this art.

Essentially, filial piety is one of the "right relationships" for which Confucius advocated. The definition includes the responsibility of each person to respect their parents, obey them, take care of them as they age, advise parents, and of course to love them. Loving one's parents and offering them respect is the spring from which other forms of filial piety flows. A relationship with parents must be centered on love and respect.

3 types of fist

The Goju-Ryu fist is considered the hard fist because it is executed using a body locking motion.

1. The theory surrounding the Goju-Ryu fist is "There is power in a circular motion"

2. The Goju-Ryu fist tends to affect the arm in this manner, it causes tension when made to extend from the knuckles to the shoulders.

3. The advantage of using the fist is the fact that the entire arm becomes a solid mass upon the execution of the fist. It is slower but more powerful.

4. The disadvantage of using the fist is that it takes longer to form properly and is difficult to initiate.

5. The proper way to execute the Goju-Ryu fist is with an over and downward motion or the Seiken-Tsuki.

6. The Goju-Ryu fist was developed to represent the action of mountain goats butting heads

The Shorei-Ryu fist is considered the medium hard fist because it is executed with a snapping motion. Therefore, not as much thrust is initiated into the target as is with the Goju-Ryu fist.

1. The theory behind the Shorei-Ryu fist is "The shortest distance between two points is a straight line"

2. The Shorei-Ryu tends to affect the arm by causing tension from the front of the knuckles to the elbow of the arm, thereby leaving the area from the elbow to the shoulder relaxed.

3. The advantage of using the Shore-Ryu fist is in how it is formed. There is no reason or need to throw it over and downward as the design of the fist eliminates the index finger from sticking out and can therefore be thrown in a straight inward motion. This makes it faster than the Goju-Ryu fist but less powerful.

4. The disadvantage in using the fist is the fact that it does take longer to make and the solidity of the fist is questionable.

5. The proper way to execute the fist is with a straight inward motion or the Seiken-Tauki which is its advantage over the Goju-Ryu fist.

6. It was developed as the Shorei-Ryu schools felt that forming the fist this way gave them a slight edge over the Goju-Ryu schools as the distance to the target was decreased substantially.

The Okinawa-Te fist is considered the soft fist as it is executed with a pushing motion.

1. The theory behind this fist is "Speed times mass equals power".

2. When this fist is formed it affects the arm by causing tension from the front of the knuckles to the wrist area.

3. The advantage of this fist is speed. It can be made en route to the opponent while being formed.

4. The disadvantage of the fist is you may have to strike the opponent numerous times in order for it to be effective.

5. You execute this fist in a downward to upward motion or Seiken-Zukin.

6. The fist was developed as the Okinawans found this fist would daze an opponent long enough for them to execute their finishing techniques.

In our system of karate, we recognize 3 types of fist. These fists were the collection of fist used in three Okinawan arts that existed during the Funakoshi era which was Shuri-Te, Naha-te, and Tomari-te named after the cities that developed the systems or styles. Gradually, karate was divided into two main groups: Shorin-Ryu and Shorei-Ryu.

Shorei-Ryu derived out of the Funakoshi Shotokan system which used powerful linear techniques and deep strong stances.

Subsequently Goju-Ryu was developed out of Naha-Te, its popularity primarily due to the success of Kanıyo Higaonna (1853-1915). Higaonna opened a dojo in Naha using eight forms brought from China. His best student, Chojun Miagi (1888-1953) later founded Goju-Ryu, 'hard soft way' in 1930. In Goju-Ryu much emphasis is placed on combining soft circular blocking techniques with quick strong counter attacks delivered in rapid succession. The Goju-Ryu fist developed because of the relentless attacks to the lower kushos of the body. A stronger, more durable fist was required due to the boney structures it was targeted toward. Both styles, Goju-Ryu and Shorei-Ryu were known for their superior fighting out of low stances.

The Goju-Ryu Fist must be thrown using the Seiken Tsuki method or way of striking - Over and downward simply because most strikes were thrown toward the lower parts of the body.

The Shore-Ryu fist was the most widely used fist as it was the fist used by most systems of karate in Okinawa.

It was easily thrown and took very little effort to initiate. The straight inwardly thrown fist was used by not only the Shorei-Ryu system but also Shorin-Ryu and Shotokan practitioners. In the 1800's the art of Shuri-Te started to be called Shorin-Ryu Karate. No one knows for sure why this trend started or who started it. The fact was that most of the practitioners of karate in Okinawa began to accept the name or rather the change.

The Shorin-Ryu

system emphasized higher stances and mainly targeted the middle and upper kushos of the body. Shorin-Ryu and not Shorei-Ryu practitioners emphasized higher stances, however, some began to accept the concept.

The Shorei-Ryu Fist must be thrown using the Seiken Tauki method or way of striking - Straight inward.

The Okinawa-Te Fist was fully developed when Gichin Funakoshi suggested that Shorin-Ryu and Shorei-Ryu karate was developed based on different physical requirements. Shorin-Ryu was quick and linear with natural breathing while Shore-Ryu emphasized steady, rooted movements with breathing in synchrony with each movement. The Okinawa-te fist could be formed and thrown without the recoil like the other two fists above and could primarily surprise an opponent causing them to falter and lose concentration.

The Okinawa-Te Fist is thrown using the Seiken Zukin method or way of striking - Down with the fist coming upward

Now that we know the three types of fist were developed based on the area of the body emphasized for defense, why do we choose to use all three fists rather than just one?

Knowing which area of the body each fist is most effective based on its development, the Universal Shorei-Goju Karate System uses them as you would in a chest game. There are three parts to a chest game. There is a beginning game, a middle game and an end game.

We always opt for a quick checkmate, but that's not always

possible, so we sometimes have to use a pawn game or knights and bishop game. A quick checkmate would be disabling the legs by using the goju fist or attacks of the lower kyushos.

A pawn game would be using the

quickness of forming the Okinawa-te fist on the way to the opponent for facial or upper body strikes to cause the opponent to falter or lose balance giving ample time to form one of the other fist to damage or disable the middle body areas until we can finish with an assault to the lower kyushos. A knight or bishop game or middle game would be hard controlling techniques to render an assault on the middle body or body organs in order to proceed to the end game of disabling the lower kyushos. Unlike other karate systems, we have a use for all three fists.

If we have to play a beginning game, we use the Okinawa-te fist, a middle game uses the Shorei fist and the end game is always the Goju fist. When we go for a quick checkmate, it's the Goju fist we use.

Universal Shorei-Goju Karate System teaches and applies all three types of fist. It seems to be over emphasizing the fist, but it's important to realize the advantages that result from the use of the three fist.

However, the three types of fist deliver a greater advantage to the practitioner than originally realized.

The Goju-Ryu Fist. When the Goju fist is properly formed, the fingers are coiled tightly and as flat as possible on the striking face. The thumb locks in the coil to develop a fully secure fist form.

When fully extended to the proper execution of the arm, the fist is slightly dipped downward to assure contact with the first two knuckles only that are adjacent to the thumb. When the arm is recoiled and the fist is formed, the fist remains relaxed so as not to cause a conflict with the theory of power. The arm is pushed out in an upward motion with the palm facing upward until approximately 90% of the execution length of the arm. During the last 10% of the arm's execution length the fist is twisted down with the palm facing the floor or ground and only fully tightened approximately 1% arm execution length before impact with an object. When the fist is fully tightened, the goju fist causes tension from the front of the knuckles to the shoulder. This is why the arm and the fist must remain relaxed during the formation and execution process as a tightened fist will severely reduce the speed of the arm causing critical loss of power in the punching process. The Goju fist is designed for attacking the lower areas of the body because the lower areas of the body have larger and stronger muscles and therefore needs a strong fist to assure damage to that area. See examples in your previous manuals or DVD.

The Shorei-Ryu Fist - When the Shorei fist is properly formed, the fingers are curled tightly except for the index finger which is kept straight pulling the knuckle of the index finger inward as to make the face of the fist as flat as possible. The thumb locks in the coil to develop a fully secure fist form.

When fully extended to the proper execution of the arm, the fist is slightly dipped downward to assure contact with the first two knuckles only that are adjacent to the thumb. When the arm is recoiled and the fist is formed, the fist remains relaxed so as not to cause a conflict with the theory of power. The arm is pushed out in an inward motion straight toward the target with the palm facing upward until approximately 90% of the execution length of the arm. This assures the arm to be relaxed as it is in a natural relaxed position. During the last 10% of t arm's execution length the fist is twisted downward with the palm facing the floor or ground and only fully tightened approximately

1% arm execution

length before impact with an object. When the fist is fully tightened, the Shorei fist causes tension from the front of the knuckles to the elbow.

This allows the

fist form to be slightly tightened without conflicting with the theory of power 100%. There are some conflicts but are very minimal.

The Okinawa-te Fist.

When the Okinawa-te fist is

properly formed, the fingers are coiled tightly and as flat as possible on the striking face as possible. The thumb presses inward into the coil to develop a fully secure fist form.

When fully extended to the proper execution of the arm, the fist is slightly dipped downward to assure proper bone alignment with the first two knuckles only that are adjacent to the thumb. There is no need to recoil this fist to form it. This fist can be and usually formed on its way to the opponent which is why it is much quicker than the other two fists. The theory of power is not at risk with this fist except for the lesser solidity it has when it is formed. The arm is pushed out in a downward motion with the palm facing any position they are in until approximately 90% of the execution length of the arm.

During the

Last 10% of the arm's execution length, the fist is twisted down with the palm facing the floor or ground and only fully tightened approximately 1% arm execution length before impact with an object. When the fist is fully tightened, the Okinawa-Te fist causes tension from the front of the knuckles to the wrist.

Due to the fact that the fist only causes tension about the wrist, it does not cause a severe reduction of speed of the arm and does not cause critical loss of power in the punching process. However, it is recommended to only tighten the fist upon contact with the target.

The Okinawa-te fist is designed for attacking facial and soft areas of the body. See examples in your previous manuals or DVD.

It is evident the forming of the fists causes tension or affects the arm negatively when attempting to strike an opponent with sufficient power. In order for power to be distributed at its maximum velocity, the arm has to be relaxed as much as possible to entice the forces to choose that direction for distribution. Any tension in the upper portion of the body, after the force or power has been generated, will cause the forces to choose another passageway to be dispersed. Like water the forces will follow the least amount of resistance

ANIMAL FORMS

What is significant about teaching animal forms in karate? Most feel it is simply to grow more ego in the student as to make them mimic the animal form to brag about them being as ferocious as the animal they mimicked. However, animal forms are not a chosen attribute, but a natural instinct in which a student already has which can primarily only be determined by a master instructor. Once a master instructor determines the instinctive nature of an individual student, he should and will train that student in the attributes or instinct of the animal form he had matched with the student.

A snake cannot be a tiger, nor can a dragon be a crane.

Therefore, it is critical that the instructor

carefully matches a student with the proper animal instinct or attributes. A student may go through several different animal forms before their true form actually surfaces.

The Dragon :

The Dragon represents body strength and its power emits from its balance and diversion ability. The dragon is considered a myth, or an old-folks tale. Long ago people spoke of reptiles that could breathe fire and swallow up a whole ship in one gulp. According to legend, some of these dragons could even fly. They lived in caves, or in the sea, and often guarded valuable treasures. The dragon was known to never start a fight, but was always provoked into one by Knights wanting to take the treasures it guarded or simply wanting to slay it to prove bravery or courageousness.

Dragons were

often said to have captured Princesses and carried them off to their cave to feed their young. It was the duty of the Knights of armor to slay the dragon and rescue the Princess. Although the dragon

considered an old folks tale, Martial Artist have utilized its theories to formulate a formidable fighting skill and strategy based on those tales. The dragon, living in a cave or in the sea, signifies

"the hidden technique", or diversionary tactics. If a ship or Knight could not see the dragon, the element of surprise was always in favor of the dragon. It could come from under the sea at any moment without a warning.

The fire from the mouth of the dragon represented the "fiery" attitude

a Martial Artist must acquire as another diversionary tactic. If you picture the dragon, both the head and tail are usually coming together, representing the ability to destroy from both ends. While the Knight attached the fire-breathing head of the dragon, the tail would deliver a killing blow to the Knight.

Therefore, the Martial Artist would utilize body positions to gain advantage over their opponent. The dragon represents "Body Strength", the ability to show the opponent one technique and strike quickly with another; the ability to overwhelm the opponent with meaningless techniques to draw their attention away from the actual technique to be used to defeat them.

The dragon's

attitude is to smash the opponent quickly, without warning, and burn away all available retaliation resources; strike the opponent without warning and don't allow or give them any resources for

recovery; to swallow up the opponent with devastating techniques; make the opponent feel inadequate and helpless.

The dance of the dragon represents its flight through the air, its walk upon

the land and its control of the depths of the sea. The dance of the dragon is illustrated below..

The tiger is considered the easiest of the animal forms to leash as most instructors simply sum it up in one word, aggressiveness. However, they have missed the most important elements of the w of the tiger in that the tiger has ten attributes of their killing attack that is ignored by most black b instructors. At your next level, we will discuss the ten attributes of the tiger and of all the others and The Tiger represents "Bone Strength". The tiger is of the cat family, and is notorious for hunter and Sulzig strategies of the hunt. The tiger is a very large animal, yet is very quiet and agile on its feet. The tiger depends on its keen sense of sight and hearing to track down and disable its prey. Tiger stays close to home and practices the hunt consistently until he can instinctively accomplish the task. The tiger makes sure that it has great targeting ability and that it will be able to pounce on opponent and take it to the ground in one technique; otherwise, he will go hungry for many day Although starving fo a kill, the tiger is very patient and will wait for the right moment to strike its pre The locking of its bones upon contact with its prey drives it to the ground, leaving its prey with little

no fight left.

The tiger's keen eyesight quickly spots the weakness of a herd and then moves in position to prepare for strategic attack. He does not want to show off with its techniques, but concentrates on the task at hand and tries to implement it without error. The tiger stays up wind of its prey to prevent starling its victim The Martial Artist who trains in the tiger form will not fight the opponent on their best side, but continue to force the opponent to the side he feels is weakest. The tiger's roar lightens its victim into a state of confusion, causing it to make ill-advised decisions, such as running in the wrong direction in an attempt

to escape the wrath of its aggressiveness.

The coloring of the cat's fur offers much needed camouflage as to allow it to get closer to its prey making

to that of the dragon is being take

advantage of. You will find that the element of surprise is constant in the attributes of the Martia Aris's techniques as is used by the animal forms. The attitude of the tiger is, "I must not miss the target and I must not give the opponent a chance to escape or retaliate. I must first find its weakness and devis? a strategy before revealing myself with an attack. Hence, "I must succeed." The tiger isn't a long distance burner, so its strategy must be clear, precise and implemented quickly without hesitation. The tiger animal

The Leopard represents "Inner and Outer Strength." The leopard is also of the cat family, but, unlike the tiger, the leopard wears its opponent down with numerous strikes and attacks. The leopard's attitude is, "I will find some way to win, because one of us is surely to die." The inner strength of the leopard is its will to live and its relentless attacking ability. The leopard's outer strength is its ability to continue, even when the odds are well against him. Leaping, clawing, and biting the opponent in a series of attacks is its strong outer ability. Its outward conditioning is phenomenal and amazing along with its stealth ability, sharp mind and instinct. The leopard attacks and then gives the indication of quitting, then returns with an immediate attack again and again. The leopard uses confusion as an advantage especially if there is a lot of activity taking place at the time of its calculated attack. So much confusion makes an opponent unsure whether the leopard is running from him or attacking him. The leopard will very seldom fight outside its territory. It will run away until it reaches close to home, then it will initiate a relentless assault on its opponent. The dance of the leopard is illustrated below.

3

The Snake represents "Breath Strength" or "Strength of the Siaka Tanden". The snake utilizes its breathing ability to twist, turn, and bend in unison in order to move. Although the snake has no legs, it can move very swiftly and change direction rapidly. The snake develops many senses and abilities as it lies in rest and in waiting. The constant meditating attribute of the snake brings it in close contact with its inner being and the reaction of each of its muscles and internal organs. The snake strikes very quickly and brings its opponents down to its level, or arena. The snake will strike the legs and eyes of the opponent, bringing them to the ground at its level.

The snake is always aware of its surroundings and will attack anything that comes within what it considers its territorial rights. The snake knows the breathing status of its opponent and will strike only when the opponent has exhaled air. The snake is very patient and serious. It maintains complete inventory of itself at all times in preparation for an attack or encroachment. The snake rarely initiates an attack, yet it is more than prepared to accept any challenge - often warning its opponent of an encroachment prior to defending itself. The snake's theory is, "If you can't see me, you can't defeat me.

If you can't walk or run, then we are on equal terms." The Martial Artist practicing the snake techniques will attack the legs, eyes, and stomach regions of an opponent. The snake form utilizes passive resistance to defeat an opponent.

The snake has great upper body movements and is very

difficult to hit. If attacked by a hawk, the snake will wait for the hawk to make its move. When the snake is sure the hawk has committed itself to the attack it moves its upper body at the last minute and snarls the hawk from the side. The dance is illustrated below.

The Crane represents "Spiritual Strength" or "Strength of the Sinews". The crane utilizes the strength of its ligaments to ward off its opponents.

Standing only on one leg and wading the

water builds strength in the ligaments as does swimming. The crane will use its wings to tempo blind its opponent while it strikes with its beak or devastating claws.

The powerful legs lash ou

delivers a crushing blow to any opponent. The crane's theory is, "I will fight with all my hen if my life depended on it." The crane's ability to defeat an opponent is very good. Its abilities are grossly under-estimated by many opponents, but it quickly gains their respect when it lashes out its spirited fight. It has very good upper body movement and uses it to evade the opponent. Theo has devastating kicking and striking techniques. The crane uses its reach and long legs to its advantage The crane also utilizes circling and angling techniques to ward off or defeat its opponent. The a very seldom initiates a fight, but will ultimately finish one quickly with use of hook kicks, back and other kicks of a circling nature.

The dance of the crane is illustrated below.

Its theory of fighting is similar to that of Mi

Peacock's theory of not getting hit — "If you don't want

DANCE OF THE ANIMAL FORMS

Universal Shorei-Goju practitioners were so confident in their fighting skills that they allowed their opponents a preview of what they were about to engage in a battle with. The purpose was two fold as they wanted the opponent to think twice about what they were about to do. The dance was a way of saying "Are you sure you want to pursue a battle with me, for I am of the Dragon, Tiger, Leopard, Snake or Crane form that is highly trained and conditioned in The Universal Shorei-Goju System.

Why do the animals dance?

The five animal form dance is ultimately related to the five elements shown on our patch. The relationship of animals to the five elements will not be discussed in this manual.

However, we will give

you the reason the animal form dance was developed and the attitude of each animal form as to their approach to survival.

First, why the dance?

animal dances were formed when

two masters from

different schools met in the woods and there was a great amount of mud on each side of the path. path was too narrow for them to cross at the same time without one of them going off the path into the

The master from the northern school

demanded the other master to step off the path and let him pass, but the other master refused and stated he was from the southern school and demanded that the master from the northern school step off the path and let him pass.

They stood there for a moment and

the master from the

northern school yelled at the

Another master "If you do not step off the path, I will knock you off because I am a northern school master." The other master replied "I too am a master and I am from the southern school and I demand you step off the path and let me pass or I will knock you off the path."

There was a great silence and then the master from the northern school stated "I am a master of the dragon form and I will damage you greatly if you do not remove yourself from the path so I can pass." The other master said "I am a master of the southern tiger form and I have never been defeated by any northern master."

The northern master was insulted

and replied "You have never fought with me and today a dragon will defeat you." At that time the northern master executed the northern school ore and followed it with a few moves from his

dragon form to

intimidate the other master to let him pass.

The

The southern master executed his southern ore and followed it with a few moves from his southern tiger form.

Again there was silence and both masters ran toward each other to remove the other from the path.

The fight ensued and to their dismay it ended in both masters lying in the mud too exhausted to continue their battle.

The northern master said "Today was a

good day." The southern master said, "Thank you, it really was." returned to

They both went to their destinations and tell their

story to their students and

masters and from that moment on, the pride of their animal form was revealed to every opponent as an honor to their opponent for giving them a good fight for that day.

This custom grew and it became a

signature of their master's teachings and their pride of being trained by him.

Attitude & Approach

The Tiger represents bone strength. The tiger is of the cat family and is notorious for hunting and utilizing the strategy of the hunt.

The tiger is a very large

animal, yet is very quiet on its fect. The tiger depends on its keen sense of sight, smell and hearing to track down and demolish his prey. The tiger prefers to stay close to home and will practice the hunt consistently until he can instinctively execute the task.

The tiger

makes sure that it has great targeting ability and that it will be able to pounce on its opponent or take it to the ground in one technique.

Otherwise he knows he may go hungry for many Although starving for a kill, the tiger is very patient and will wait for the right moment to strike its prey.

The locking of its bones upon contact while pouncing onto its prey allows it to drive its prey to the ground with little or no fight left in the prey. The process of taking the opponent to the ground knocks the wind out of the opponent. The ability to sweep the legs from under its prey while in a dead run is a skill unequaled in other animal forms except that of the cat family.

The tiger uses a deep low stance to assure he can project or move the weight of his body without disruption. The first initial movement of the tiger is the most critical and is why the crouching position or low stance is so important. Speed is maximized when done from a low stance position. The tiger's keen eye sight quickly finds the weakness of the herd and prepares an attack on it as the tiger knows that his rate of success of a kill is about 25%. He therefore has to be sure his initial movements are perfect. The tiger does not try to show off with its techniques, but concentrates on the task at hand and tries to implement it without error.

The tiger stays up wind to its prey, to prevent startling the victim. Once the tiger has used its stealth ability to get close enough to the prey, he will pounce without hesitation.

As a martial artist, what have we learned from the attitude and approach of the tiger?

The tiger stylist

in the martial arts will always use its keen sense to find the weak side of its opponent and make every effort to get them on that side.

Once there, the stylist

will attack viciously without hesitation. Every step or movement taken is a calculated aggressive movement.

One who trains in the tiger form will not fight the opponent on their best side, but continue to force the opponent to the side he feels is the weaker side. The tiger stylist works out of a low stance to maximize his launch toward his opponent.

The tiger roar frightens

The victim is confused in which way to run, evade or escape the wrath of the cat. The camouflage

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The cat's fur offers the martial artist the theory of the hidden technique similar to that of the dragon. You will find that the element of surprise is constant in the attributes of the martial arts techniques and in the animal form.

The tiger's attitude is "I must not miss

the target, and I must not give the opponent a chance to escape or retaliate." must first find their

weakness and take away their ability to fight back."

"My plan is to eat and survive, not to fight." The Leopard represents inner and outer strength. The Leopard is also of the cat family but unlike the tiger the leopard wears its opponent down with numerous strikes and attacks. The leopard's attitude is "I will find some way to win, because one of us is surely to die." The inner strength of the leopard is his will to live and his relentless attacking ability.

The strength of the

The leopard is mostly in his neck and shoulders.

This is

Why is he able to carry animals more than three times his own weight up a tree? Leopards carry their food up trees to prevent larger animals such as the lion or tiger from taking their food. The leopard always pushes the limits when hunting as they have so many issues they have to consider when hunting.

They first have to

catch and kill their food and then have to watch out for hyenas, lions or tigers that may come along and take it from them. Therefore the leopard is fully aware of its surroundings and watches closely for any movements in the area before he attempts his kill. The leopard's outer strength is his ability to continue even when the odds are against him. The leaping, clawing, and biting the opponent in a series of attacks is a strong outer ability.

The leopard attacks and then gives the indication of quitting, then re-engage again and again.

with an immediate attack

This confuses and

frustrates the

opponent, because he doesn't know whether the

The leopard is running from him, quitting, or attacking him again. The leopard will very seldom fight outside its territory. It will run away until it reaches close to home and then turn and viciously attack its assailant when he is on his home turf.

The leopard, like the tiger, uses

precision bites to render its opponent helpless. Actually the bite the cats use shuts off the oxygen to the brain of their prey which causes the prey to pass out. It was first believed that their bite choked the prey, but it is now known that the design of the cat's mouth actually clamps the jugular vein and shuts off their oxygen and causes them to pass out.

As a martial artist fighting in a leopard style, you must be very aggressive, quick, and precise.

You must

be aware of all movement of your opponent and utilize a stop and go methodology of fighting.

Your stance

must be low and powerful allowing the upper part of your body to be flexible and able to pivot in multiple

positions without giving ground. This ability allows the leopard to immediately re-attack the opponent without having to regain a close position again. The leopard's movements are circular and pivoting as to evade an opponent while still remaining in striking distance. The leopard, as does the tiger, uses pattern disruptions and color blending to gain position on their victim. This is why techniques in the leopard style along with the tiger style are within the perimeter of the body to hide the technique from the vision of the opponent. An opponent's eyes can pick up on any slight color change and readjust for it or defend against it, however, if the movements are undetectable by being thrown within the perimeter of the body, then they will most likely be hit by them.

The Snake represents breath strength or strength of the siaka tanden.

The snake utilizes its breathing

ability to be able to twist and bend in unison in order to move. Although the snake has no legs, the snake can move very swiftly and change direction quickly.

The snake develops many senses and abilities as it lies in rest. The constant meditating attribute of the snake brings him in close contact with his inner being and the reaction of each of its muscles.

The

The snake strikes very quickly and brings his opponents down to his level. The snake will strike the legs of the opponent and the eyes and this also reduces the opponent to the snake's level. The snake is aware of its surroundings and will attack anything that comes within its territorial rights.

The snake knows the

breathing status of its opponent and will strike only when the opponent has exhaled its air. The snake is very patient and serious.

He must maintain complete

inventory of himself at all times to be prepared for an attack or encroachment. The snake rarely initiates an attack on anyone, yet he is more than prepared to accept the challenge.

The snake often warns his

opponent of an encroachment before he defends himself. The snake theory is "If you can't see me you can't defeat me." "If you can't walk or run then we are on equal terms."

The martial artist practicing the

snake techniques will attack the legs, the eyes and the stomach regions of the opponents.

The snake form

utilizes passive resistance to defeat his opponent. The snake has great upper body movements and is very difficult to hit. If attacked by a hawk the snake will wait for the hawk to make his move, and when the snake is sure that the hawk has committed himself to the attack, the snake moves his upper body at the last minute and snarls the hawk from the side.

This

movement requires a low stance to support the upper body rotation and repositioning of the snake style.

The Crane represents spiritual strength or strength of the sinews.

The crane

utilizes the strength of its

ligaments to ward off his opponents. Long standing on one leg and wading through water builds strength

The crane will use its

in the ligaments of the bird.

wings to temporarily blind its opponent while it strikes with its beak or its devastating claws.

The powerful

legs lashes out and delivers a crushing blow to any opponent.

The crane theory is "I will fight with all

my heart as if my life depended on it" The crane's ability to defeat an opponent is very good. Its abilities are grossly underestimated by many opponents, but it quickly gains their respect when it lashes out with a spirited fight. It has very good upper body movements and uses it to evade the opponent.

The crane has

devastating kicking techniques.

No other distractions will provide a diversion for the crane, as it will maintain its focus in a self preservation mode.

The Dragon is considered an old folk tale from an era long ago about a reptile that breathed fire and could swallow a ship in one gulp. According to legend, some of these dragons could even fly. They lived in caves or in the sea, and often guarded treasures. The dragon was known to never start a fight, but was always provoked into one by knights wanting to take the treasures it guarded. The dragon was often known to have captured a princess and carried her off to their cave and it was the duty of the knight to slay the dragon in order to rescue the princess.

Although

The dragon is considered a folk tale, the martial artist has utilized its theories to formulate a formidable fighting skill and strategy. The dragon living in a cave

OT in

diversionary tactics.

the sea signifies the hidden technique, or

If the ship or knight could not

see the dragon, then the dragon always had the element of surprise on its side. It could come from under the sea at any moment without a warning.

The fire from

The mouth of the dragon represented the fiery attitude the martial artist must have as another diversion tactic.

If you picture the dragon, both the head and the tail are from both ends.

coming together representing the ability to destroy

While the knight attacked the fire

breathing the head of the dragon, the tail would deliver a devastating blow to the knight. Therefore the martial artist utilizes body positions to gain advantage over the opponent. Again, the hidden technique. The dragon represents "Body Strength" , the ability to show the

opponent one technique and strike quickly with another. The ability to overwhelm the opponent with diversionary techniques to draw his attention away from the actual techniques to be used against him The dragon attitude is to smash the opponent quickly without warning

and burn all available retaliation

resources. The dragon will strike an opponent without warning and give him no resources for recovery. The objective of the dragon is to swallow up the opponent with devastating techniques. Make the opponent feel inadequate and helpless.

In summary, all the animal forms we use are clearly hinting on the same goal, and that is to not allow the opponent or prey any ability to return an attack. All the forms are based on taking away the opponents ability to return an assault on you.

The dragon's head and body attacks states, "If you touch it, break it." The Tigers body and leg attacks states,

"If the prey cannot breath properly, it cannot formulate a strategy of attack." The Leopards head, body and arms attacks state,

"If it is thoroughly

confused, it will not lash out at you." The snake's leg and eye attacks states, "I will take the fight away from the opponent, by forcing it to fight by my rules." The cranes eye, vital area attack states, "If I die, you will know that you have been in a fight." Basically all the animal forms we have are based on the theory of

"No fight, no problem." Once you are capable of unleashing the animal form within you, no opponent will want to continue their advancement on you. Take on the traits of the animal forms and study them carefully to formulate your strategy and state of focus. In our system it is imperative to work all techniques from a low stance as this is the attribute of all the animal forms we train in even the crane.

Nine ways of striking

Nine ways of striking are techniques used to describe the ways striking and punching too

Bone Alignment

can be applied in the defense of one's self. These techniques accommodate you in both close-in and

Bone alignment has

fighting. The firsi four (4) ways of striking are used mostly for distant defenses; the next five (3)k

power and or while 1

for close-in defenses. For the purpose of this manual, we will only discuss or illustrate the last to

aspect of bone align

The first four are explained in your Yellow Belt Manual. Don't think in terms of the specific strike

of martial arts practice the bone alignment

the illustration, but all the punches and strikes may be used in this directional manner. I would eve

arts, you will find tl

far as to say that the same is true for blocking techniques. These techniques allow you to be ver

endure or be faced

your defense, no matter what position you may be in. You could be sitting, kneeling, or standing

shoulders) are in:

someone may attack you, and these techniques make allowances for those positions. think in term

body's structures.

attacker grappling or wrestling. These close-in techniques would render the attacker harmless if one joint is out of

before or during the time an attacker attempts to stabilize, or gain balance. If the attacker is bor

fatigued because

At this stage, you have twenty 20) plus strikes and control techniques to familiarize yourself with kicking, the distant techniques are mostly used to address those situations.

Shoulder Align

using the ways of striking with each one to practice its application.

A good shoulder compromised by a Shoulder alignment throwing punch will also help.

Kagi Tsuki (Hook Punch)

Riken Zuki

Ura Uchi Ken

Ura Zukin

(Vertical Back Fist) (Vertical Fist Punch) (Horizontal Back Fist) (Upper Cut Punch,

The first four ways of striking as does the last five can actually dictate what fist is to be used to execute the strike. Seiten Tauki is a straight inward type punch and the fist we have designed punching straight inward is the Shorei Fist. The Seiken Tsuki is executed over and downward therefore the bust fist for that fiction is the Crow Fist because the over and downward motion h prevent striking with the wrong or incorrect knuckles and it aids in driving the force you've generated your opener The Seike i executed downward and coming up is designed specifically fe Dinawa te fist as the fist can be made as it is thrust toward an opponent unlike the other fists which t to be retarted made and then thirst levard the opponent. Sort of a 1, 2, 3 process that is climina! main tie Citate for. You can use another fit to execute the mawash Tsuki punch, but the Toi should tell you that the reju fut is being wired and the punct is being executed with ann and disan resi. Hooser, each sull cat be changed to for the type of fist you wish to exe sue ace it read ner it es ef if i being used and the punch is being thrown stit

man te emer ling this analy, we siapi can execute each punch or strike in our tie manual a minimum of feu differentials with three different fist forms and a maximum of nine different ways with three different fifers. This theoretically increases your versatility of punches and strikes by nine times. 

The nine ways of striking are normally identified by the use of familiar strikes or punches.

However, it is

It is important to note that the particular strikes that we use to illustrate the nine ways of striking are only examples, and are not the only strikes that can be used with the method of striking that is illustrated. Any strike or punch may be executed or thrown using any of the nine ways we have defined. In other words, you can throw a nukite strike or even an elbow strike over and down or down and up and so on. Don't limit yourself to using only the illustrated strikes as the only strikes that can be used. Most any strike or punch may be thrown the nine way.

Remember, the object of striking or punching is to do damage to an opponent or assailant and not yourself.

Therefore it is critical that you also learn to form your hands properly to execute desired punches. Forming the hand and their alignment in a firm manner, does a lot for not only your confidence in using them, but also assures you that your strike theoretically will do what it is designed to do.

Conditioning all elements of your striking techniques places you in an atmosphere of martial arts training that is superior to most. Learning to change your strike or punch and also using the nine way of striking is essential to your training.

Most martial artist are only one

dimensional as they become satisfied with and only trust a curled fist when they are in combat.

The ability to change up and use several strikes and punches in different ways of striking and directions will enhance your status as a martial artist. Once you have mastered the combination and series of change ups with your hands, then you may begin combining your hand change up techniques with your kicking series of training.

Bone alignment & more

Bone alignment has been grossly overlooked in the martial arts as only an element to increase your power and or while being attacked as a defensive mechanism. However, bones have a more beneficial aspect of bone alignment than the few elements we notice up front. One of the premiere reasons a lot of martial arts practitioners have been injured is because they are not being taught the importance of the bone alignment theory called posture. When proper posture is practiced while training in the martial arts, you will find that the alignment of bones reduces the amount of pain and discomfort a karate-ka will endure or be faced with. When all of the body's eight load-bearing joints (the ankles, knees, hips and shoulders) are in a bio-mechanical state of balance, body weight distribution is least stressful to the body's structures. All eight joints, together with your spine, form an interdependent kinetic chain. When one joint is out of alignment, it impacts all other joints. When joints align correctly, muscles become less fatigued because the body works in a bio-mechanically efficient way.

Shoulder Alignment

Good shoulder alignment is identified by a lifted chest with shoulders pulled back and down. It can be compromised by excessive time spent hunched over a desk or computer, driving, or holding the baby.

Shoulder alignment can be improved by doing exercises that pull the shoulders back and down such as throwing punches while your back is placed against a wall. Stretching tight chest and shoulder muscles will also help. Proper stretching provides a good regimen for adjusting shoulder misalignment.

Hip and Pelvic Alignment

Hip and pelvic alignment have a profound impact on spinal health. When the pelvis is in neutral alignment, the spine assumes its natural S-curve. An anterior or posterior pelvic tilt will cause spinal misalignment, generating pressure on disks and nerves that can lead to back pain or worse. Pelvic alignment is influenced by the hamstring, quadriceps and pelvic floor muscles that control hip movement. Exercises that strengthen and stretch those muscles can correct poor alignment. Kata form especially addresses misalignment of the pelvis and hip joint when properly executed. Making sure the pelvis and hip joints are always in a normal full faced position regardless of the stance you're using.

Knee Alignment

Poor knee alignment can throw your entire posture out of sync. Standing with your knees locked or with your weight shifted to one side, sitting for long periods or an inactive lifestyle can cause the many muscles that come together at the knee to pull with uneven tension. In correct alignment, the knees should point straight ahead and be slightly bent, never hyper-extended or locked. Good knee alignment can be reestablished by doing exercises that strengthen and stretch the hamstring and quadriceps muscles such as walking in Zen.

Ankle Alignment

Misalignment of the ankles can cause a chain reaction that translates all the way up the spine to the shoulders. Footwear with inadequate support or high heels can wreak havoc on body alignment if the ankles are weak or out of alignment. Weak calf and shin muscles can compromise ankle stability.

In correct alignment, weight should be equally distributed between the ball and heel of the foot, and toes should point in the same direction as the knees. Toe raises and balance exercises like those done in Universal Shorei-Goju Karate can correct poor ankle alignment if you or your instructor critique each movement of your kata form or your sparring sessions to keep you aware of your misalignments when they occur.

Alignment

This is what is meant by the meaning of bone alignment when we say that bone alignment is when bones are placed in such a manner that they support each other. Regardless of what you do in karate, your focus should always be on protecting the condition of the body and one way of accomplishing that is with good bone alignment at all times, not just at the time you wish to throw a punch or kick. Look at older martial artists and you will see a lot of them with several injuries because they failed to understand the underlying meaning of bone alignment when they were training in karate. A lot of them have had hip replacements, knee replacements and so on as a result of generating forces on the body without respect to bone alignment.

If you are making any kind of movements in karate and your bones are not in proper alignment with each other for support purposes, then you are endangering yourself for the prospect of injury.

Ball and sockets

The ball and sockets in the shoulders are not as deep nor as strong as the ball and sockets in the pelvis or hips. This is so you can get more motion out of the arms or upper portions of the body than you can with the lower portions of the body. The upper part of the body isn't as strong as the lower portion of the body because most of the forces generated by the body are done from the ground and therefore need additional support to carry the forces. By design alone, it would be more difficult to dislocate the ball and joint at the hip or pelvis than it would be at the shoulders. This is why when dealing with forces and power it is critical that the sockets be aligned properly to deal with the amount of force you generate and impact upon them. The more square the shoulders and hips are, the more forces they can deal with.

Any slight

deviation can cause injury or dislocation. These are reasons bone alignment cannot be ignored as simply an act of punching or controlling. Bone alignment is essential to the body whether you are active or not

Personal weapons

PERSONAL WEAPONS

Personal weapons are defined as any part or parts of the body that can be formed into a known weapon and can simulate similar results of that weapon. However, most strikes and punches are considered personal weapons when formed and used properly. Some samples of personal weapons are the Shuto or knife hand, the Tettui (Hammer Fist), Nukite (Spear Hand), Ippon Nukite (One Finger Thrust). Any part of your body that is formed to strike or disable another individual is considered a personal weapon.

Effective striking area for the Shuto

Effective striking area for the Tettui

— Effective Striking Area for the Vertical Nukite

- Effective

Striking Area for the

Horizontal

Nukite

Effective Striking Area for the Ippon Nukite

Special training is required in order to strike areas with the finger tip over and above the training for other punches and strikes

The (12) Vital & Fatal Spots

In this manual we will discuss the most effective punch or strike for damaging or disabling the twelve vital and fatal spots. You may not be familiar with some of the punches or strikes we mention, however, you will know or go over most of the ones mentioned. parenthesis.

The most effective punch or strike is listed inside the parenthesis

Top of the head (Sier yuto)

Temples (Oya yubi)

-Nasal area (Shotei uchi)

- Larynx (See Below *)

Solar Plexus (Oni ken)

Naval area (Oni ken)

(Riken)

(Nukite)

- Groin Area(Seiken)

(Groin grab)

(Shotei uchi)

(Keito ken)

Base of the skull (Oni ken)

'Shuto)

Top of the spine (Sier Yuto)

(Tettui)

Kidneys (Tettui)

(Shotei)

(Tate)

Coccyx or Tailbone

(Seiken)

(Oni ken)

haN

Bottom of the foot

(Oni ken)

(Tettui)

(Seiken)

(Shuto)

Larynx (Adam's apple)*

(Hira ken)

(Shuto)

(Nukite)

(Koko uchi)

(Koko shuto)

(Han uchi ken)

Remember, utilizing these strikes and punches will disable or do severe damage to whomever you successfully hit or make contact with if executed with sufficient power. It will be permanent damage therefore, you must use good discretion before utilizing any of these strikes or punches.

you should be very familiar with the vital and fatal spots. However, there are hundreds of spots all over the body that can be used to aid in manipulating an attacker or opponent. The more you learn these spots, the more effective you will be in defending yourself when the time comes. Your coordination and timing should be to a point where you can synchronize your techniques fairly easily using sufficient power. To prevent you from training without a focal point, we will attempt to guide you in a direction that is in line with our system of defense.

Kata (prearranged technique

Kata forms are used to aid the practitioner in maintaining balance, form, proper fundamentals, increasing speed, targeting, increasing internal energy, etc.

Some practitioners never

understand how critical it is to practice kata form and therefore do not utilize them in their training.

As a kyu rank, you will be asked and are required to perform specific kata forms and have the ability to read or explain the moves you are making in the form. You must also explain what the opponent is doing as to prompt you to defend yourself in the manner you will do in the kata form.

Kata forms are prearranged and therefore the move has been designed for specific reasons. In our system, kata forms are taught on 5 different levels and the meaning or reading of the form will be totally different in each level. Practice your kata forms often as our saying in the Universal Shorei-Goju Karate System, "Work your kata forms and self defense 1000 times so you will be able to work it perfectly once when the time comes." 

Kata forms are one of the most important elements in martial arts training. It provides a means of practicing technique, improving skills and self defense, and developing targeting procedures for optimum reflexes while not in the presence of an instructor. Kata form, along with knowledge and understanding of your styles theory, can increase confidence in self defense and unite mind and body into a system of harmony.

Kata form increases concentration, balance, power in both punches and kicks, internal energy and force, awareness, strategy, muscle tone, external energy, eye coordination, and many more attributes.

Practicing your forms on a daily basis will soon develop superior concentration and focus, and increase balance and stability in movement. Kata is a mixture of self defense forms prearranged in a series of movements and stances that depicts a variety of situations. (Based on the interpretation level being taught)

A kata practitioner must learn to see, feel and imagine the opponent and the situation he faces. Mostly the practitioner must intuitively visualize the opponent's state of mind. Along with visualization the karate-ka must defend against the advancement of an opponent utilizing the prearranged design of the form.

Learning to implement rhythm, fluidity, power, speed, targeting and placement of kiai into the form, gives the form character and diversity each time it is worked. When kiai, rhythm, fluidity, power, speed, and targeting are well placed in a form the structure changes and presents a new challenge to the martial artist.

Moving Techniques

Moving techniques are exactly what they stipulate which are the ways you should move in karate to maintain control over your body and its movements so as to not damage it and not give up very much advantage to an opponent while you reposition yourself. Practice all of your techniques using the various moving techniques to position and reposition yourself. Weight distribution is critical in your movement practices so concentrate on the fundamentals of moving. You should find yourself in a perfect stance position at the end of your movement each time you move. If you do not, then you are not practicing your movements properly. You should also be in a covered or defensive position at the end of your movements. Your hands should not wave about aimlessly and you should maintain proper bone alignment form and proper posture. Analyze your movements in everything you do in the martial arts including, kata, self defense, sparring, weaponry training, etc. Know what positions are going to give you an advantage over your opponent and how you are going to get to that position of advantage.

Basic theory

The theory of power:

Speed times mass equals power. The faster you move the mass the greater the penetrating power.

Due to the power that can be generated by initiating a karate technique, it is critical that the technique be executed without fully extending the limb which it is being thrown at to avoid injury to one's self.

In other words, proper control of techniques is very important to reduce injury.

The theory of bone alignment:

When bones are placed in a manner such that they support each other. For example: Throwing a properly applied punch in zen kutsu dachi. (See bone alignment section page 21)

The theory of Kiai:

Spirit meeting.

This means that the body, mind and spirit unites to accomplish a particular goal. Kiai does a variety of things for you.

A. Adds power to your punch or kick

B. Help absorb shock from a punch or kick

C. Frightens your opponent

D. Deadens the mind and directs it to a single task

E. Helps control the flow of blood power.

A kiai can be initiated with such a loud decibel it can cause an opponent to lose balance or collapse due to the damage it can render to the ear drum. Also if a kiai is executed properly, it can actually frighten an opponent enough to stop their punch or kick without executing a control technique, block, or evasion maneuver.

The theory of eliminating friction:

One can eliminate friction by simply relaxing. The process of relaxing the mind and the body to strengthen flexibility and strategy. Even when you're under duress, the art of relaxing at that point will allow you to think clearly, move quicker, and apply better techniques to the situation.

Sweeping techniques:

There are three types of sweeps.

1. Drag out - Hooking the opponents leg and pulling it towards you, splitting the opponents legs apart.

2. Knock out - Hooking the opponent's leg and knocking the opponent's leg out at a 90 angle from you.

3. Take out - Hooking the opponents leg while grabbing the opponent in a high area and dragging or knocking the opponents leg from under them.

At this point in your training, you should be attempting to apply these sweeping techniques in your sparring and self defense.

Increasing power 1000% without using strength

1. SPEED

The faster an object is moved through space, the more power is realized and generated. A hurricane has been known to send

a straw through a tree.

2. SOLIDITY

The mass with the most solidity will penetrate a mass of lesser solidity.

3. CIRCULAR MOTION/DRILL THEORY

By using circular motion and the point of your striking element, it will act as a drilling effect to drive the force into the target. Normally called centrifugal force.

4. BONE POWER

By aligning the bones and locking them at the point of contact, they tend to solidify not only the striking element but the entire body. Thus increasing the solidity of the mass being thrust.

5. PENETRATING ELEMENTS

The smaller the element you thrust at your target the more it will penetrate the target. (I.E. A sharp pencil will penetrate deeper than a blunt pencil.) A sharp element tends to send the force of a thrust in a direct line while a blunt element tends to disburse the force of the thrust on impact. Thrusting with sharp points of your body, one can dictate what internal organs they wish to damage.

6. KIAI

This element is cousin to Solidity. Kiai helps to solidify the entire body upon contact with a target. However, its other attributes are equally important. Deadens the mind as not allowing you to feel actual pain. Brings the mind, body and spirit into a consensus of direction and goal. Develops concentration and focus.

7. BLOOD POWER

Water follows the least amount of resistance and so does any fluid, including blood. When the body becomes solid, the blood has to rush to another part of the body that is more relaxed in order to exist. Close your hand tightly and then open it quickly.

You will see that the blood will not remain in your hand, but will return only when you relax it. Therefore, when punching or kicking, the blood follows the elements in motion, as they are the least solid at the point of movement. When the punch or kick impacts the target, the blood rushing through the moving element will eventually clash with the solidity of the fist, foot, elbow, etc. and result in a tidal wave effect crashing into a beach house. Thus increasing power of the trusting element.

8. STRUCTURE THEORY / FLOW OF POWER-FORCE

Structuring the body for resistance increases power in that it forces a decision of power flow to be activated between the ground and the target. Upon impact with an object, the flow of power goes into the object struck then it will return to the ground through any media and determine what media is the weaker element being affected by the force. When the weaker element has been determined, the force will act on that media to be released through it.

9. GROUND THEORY

As previously stated, Body structuring forces a decision between the element struck and the ground. If the media between the ground and the object which is struck is weaker than any of the two elements in the factor, that media takes the resulting force of the impact. (I.E. If you hit a wall with your fist hard enough, most likely you will break your hand, arm or shatter your elbow.

Taking yourself out of the factor by snapping the strike or kick assures you that the force must remain almost entirely in the object being struck rather than returning into your body so an evaluation of weakness includes your body.

Increasing power 1200%

10. SNAP THEORY, PULL BACK or RECOIL

Similar to the ground theory, the snap technique helps take you out of the force retum factor. But snap with a circular twist becomes a tearing element as does a whip when the tip finally reaches its target. The recoil of the strike becomes a factor in a strike as does the backward thrust of a rocket shooting into space. Without the backward thrust pushing off of the ground, the rocket would never leave the ground.

11. ACCURACY

If the proper target is not accurately hit, the power of the blow or strike is immediately reduced as the element of solidity becomes a factor. If one hits a bulky area of a target, the power has more mass to penetrate, however if one hits a nerve or pressure point which is very close to the body surface, then the power increases to its maximum when the target is hit. Force travels in a straight line, therefore, with accuracy, you will be able to damage internal organs if the force is directed toward those vital organs.

12. MUSCLE POWER

Muscle is attached to bone. When a strike is initiated and the muscles are twisted to their maximum, additional solidity is created. Fold a cloth towel into sections and then push it into someone and you will see the effect is minimal. However, if you twist the towel until it is very tight and thrust it into someone the effect is more noticeable as the towel is now in a more solid state. When you twist your arm while punching, you wrap the muscles around the bones therefore making the muscles more of a solid mass that adds to the power of your blow or punch

Sparring techniques

A hit and run attack is applying pressure with faking techniques or attacking the opponent in intermittent sequences. Attack and pull away, attack and pull away, etc. to wear the opponent down and irritate him.

This causes the opponent to become impatient and make poor decisions during the

confrontation. This type of attack does not give the opponent ample time to adjust or stabilize after each attack sequence. The sequences are so frequent that the opponent does not fully stabilize from the previous attack sequence.

Sparring techniques - Techniques become extremely fast and effective when a karate-ka is able to launch an attack and defend himself at the same time. On defense, a good karate-ka would rather side step the opponent than to retreat.

I would always advise karate-kas to break the opponents technique by moving inward to reduce its effectiveness. The opponent cannot continue an attack when you are in close range to him. Infighting as we call it, requires movements at proper angles and the perfection of blocking techniques. Your opponent should not see you execute your techniques on him. Daily repetitive training and hard work are the keys to success in competitive sparring and personal self defense. Sparring techniques have a variety of approaches you can use to gain the advantage over your opponent. Some of the techniques we consider are what we call:

Touch and go - This is the art of simply letting the opponent's technique make contact with your blocking method and immediately initiating your attack on the opponent.

Windmill - This technique requires you to keep the closest hand to the opponent above the opponents guard. Upon attacking the opponent, you quickly lower your lead hand while knocking the opponents guard hand down and applying a reiken to the opponents head.

End of your foot - This technique is used when an opponent attacks you with a rushing sequence. As the opponent attacks, instead of evading the attack, you initiate a gab kick to the opponent, leaving the opponent on the end of your foot.

Up and over - This technique is used when you feel the opponent is about to engage his attack on you.

As soon as the attack is initiated, you leap in the air only allowing your opponent your hip area for attack, and striking your opponent with several punching techniques from above.

Freeze and attack - This technique utilizes a sound effect. As you feel the opponent is about to attack, you yell with a loud kiai which should freeze the opponent momentarily for you to. properly initiate your attack.

The invitation - This technique invites the opponent to attack. Once the attack is initiated, you apply a crescent kick or hook kick to the opponents upper body or face area.

Blind side - This technique is most effective when you give the indication that you are attacking the opponent. Once the opponent prepares for your attack by covering his frontal areas, you initiate your attacks to the rear areas of the opponent's head. Attacking the side the opponent finds difficult to protect.

Shake and bake - This technique uses a variety of faking techniques to get your opponent to focus on your hands as you fake and shake them. While the opponent is focusing on your hands, you can move closer and closer to the opponent to initiate your attack.

The sleep - This technique requires you to always keep a hand or foot in the opponents line of vision to obstruct his attack and cause him to falter or slow his attack.

The machine gun - This technique requires you to apply a series of techniques in combination to the opponent so as not to give him time to recover or initiate an attack on you. All that is left for the opponent to do is duck or try to evade your attack.

These are only a few of the favorite attack techniques that can be used in sparring.

Degrees of focus or technique control

The degree of focus is what we use to gauge the amount of damage we wish to do to an opponent. Remember an attacker may not always be your enemy. Therefore, it is critical that you gauge or focus the amount of power you use against your attacker.

The rules of combat in the Universal Shorei-Goju Karate System are geared to minimize the length of time any combat may be. In general, we have given you the basic knowledge of combat we use in our system, but to define it more for this level of training we will elaborate a little bit more.

When under attack, our normal response should be the 2/5 theory and the theories behind the circle, triangle and the square. However, there are other rules our system requires our students to focus on and train based on those rules.

Rule #1 :

Use the elements your opponent gives you and not revert to other areas of the body that are not easily accessible. In other words, if an opponent throws a right hand punch at you and you evade to the left while controlling the punch, you are to defend using only the areas close to your proximity. In other words, deal with the right arm, the right side, the right leg or face. Don't try fancy ways of defending by traveling to distant areas on the opposite side of the opponent's body, unless your strikes, punches or kicks cause your opponent to turn or reveal those areas to you.

Rule #2 :

Focus on disabling the legs of the opponent and not stray to the most common ways of combating your opponent.

Remember, your legs are the primary basis for all of your skills and abilities.

So, no matter how much more

experience and ability an opponent has, once you damage or disable the legs, their ability is nullified.

Rule #3:

Start becoming familiar with the 4 levels of defense which

are:

1. Muscle

2. Bone or body frame.

3. Nervous system

4. Body organs

The higher you go up in the level of defense, the closer you are taking your opponent toward death. diversionary techniques to draw his attention; from the actual techniques to be used against The dragon attitude is to smash the opponent qu without warning and burn all available retail resources. The dragon will strike an opponent with warning and give him no resources for recovery, the objective of the dragon is to swallow up the oppo with devastating techniques. Make the opponent inadequate and helpless.

In summary, all the animal forms we use are clearly hinting on the same goal, and that is to not allow the opponent or prey any ability to return an attack. The forms are based on taking away the opponent's ability to return an assault on you.

The dragon's head and body attacks states, "If you touch it, break it." The Tigers body and leg attack states, "If the prey cannot breathe properly, it can formulate a strategy of attack." The Leopard's body and arms attacks state, "If it is thoroughly confused it will not lash out at you." The snake and eye attacks state, "I will take the fight away from the opponent, by forcing it to fight by my rules." 1 cranes eye, vital area attack states, "If I die, you » know that you have been in a fight." Basically all t animal forms we have are based on the theory

"No fight, no problem." Once you are capable of unleashing the animal form within you, no opponent will want to continue their advancement on you. Ta on the traits of the animal forms and study them carefully to formulate your strategy and state focus.

In our system it is imperative to work a technique from a low stance as this is the attribute of all the animal forms we train in even the crane.

 Now that you have acquired this manual to study and train, you will be introduced to the essence and purity of this art as sometimes called the "Art of Not Fighting”

 ⅖ theory

When an opponet attacks you are apt to defend yourself by blockin g or attepting to evade their projecting arm, however, using the ⅖ theory you can avoid that series of movements altogether by disabling the oppnents leg. Always remember that the essence of a persons ability and skills when it comes to combat resides in their legs. Without the use of their legs, they would have no ability to combat.

The ⅖ theory is a reason for you pracitce this process for street combat as often as you can. Any portion  or part of the leg that is damaged or injured would hamper you from combating at a quality level. Even if your little toe is injured or damaged, your combat ability would be greatly reduced. In the following section, we will show several illustrations of leg attacks you may use to start your ⅖ theory training.

Attacking the joint from the side of the leg

If you happen to catch a leg from a kick, you have an option to attack the leg muscle or nerve area of the leg. 

After the ⅖ theory is applied, it would be less difficult to focus your attack on the 12 vital and fatal spots. One special point about the 12 vitals and fatal spots

The most effective strikes are very important to obtaining the proper results when in combat with an opponent. However, they are not the only strike that can be used if you need to use another strike. As previously talked about, your training should include the ability to switch strikes or punches even while executing a technique

How do you develop a fist form?

How do you know the form you're using will give you the results you want? Will the first form protect you if you strike a solid object? What part of the first should be used when making contact with an object, in order to obtain the best results? How does the arm play a part in the delivery of an effective blow other than the fist form?

The questions could go on and on concerning the first forms, their effectiveness, and how they should be applied. The important factor about fist forms is getting the job done without sacrificing yourself to bodily injury and the opponent. There are approximately seven elements that govern the development of fist forms:

1. It must be effective

2. It must have penetrating power

      4.         must solid

5.     It must hit the target

6.      It must support the forces which it generates

7.     It must now allow the opponent ample time to react to it

3.    N/A (NOT IN BOOK)

These elements are addressed in the Universal Shorei-Gou karate system .A most effective element geared toward duration, resistance to damage, is solidity. The diamond is durable, long lasting, and resistant to damage. The solid and tightly made fist form will carry the same traits if it is properly formed. We know the importance of these elements and are dedicated to making sure you also know them.Let us now discuss some of the elements surrounding the making of a fist form. If the first is made tight and maintains solidity. We have accomplished items 4 and 6. In order to accomplish item 2, we must arrange the first form in a manner to which we can take advantage of smaller striking points. We know that the smaller the striking area or point the greater the penetration into an object. The ice pick will penetrate into a tree a lot easier and better than a baseball bat. Even though the bat has a force, it fails to accomplish the goal of penetration. The first has a number of small points created by the bone structure when you make a fist. Therefore, we must select the smaller points that will accomplish the goals we have set previously. If we generate a great deal of speed with the fist form, hitting any small point on the first will not accomplish point 6. Since the theory of power is assumed the faster we move the mass, the more penetrating power we will generate. If this generation of power is not properly supported then the results will be injury or damage to the initiator. For example, we need a slight bend in the arm when throwing punches. 

Defensive theory (2)

We hope you clearly understand the matrix of these theories as at this stage in your training, you will be introduced further into our defensive theories. Some of the more elements of our defensive tactics are the “jab kicks”, the triangle defense and the square defense. When using the triangle defense, you are mathematically calculating the position and speed of your opponent. When an opponent or assailant attacks you. The number one important thing for you to do is to respond correctly without emotional inputs. Normally, if an opponent attacks you, your normal response is to evade the punch or kick the opponent is attempting to throw at you. This is totally the wrong way to respond to an aggressive attack. If a person attacks you and has to jump over a fence or move a round pole or some riding object, then the situation would call for them to get around the obstruction before they can complete their task of harming you. Therefore, Einstein's theory comes into play.. Two elements cannot occupy the same space at the same time. 

Jab kick

This is the reason we created the jab kick. If you put a rigid object between you and your attacker, then the closest that opponent can get to you is the end of your foot. Therefore when an opponent rushes you, the better response is not to try to invade their aggression, but to obstruct it with a rigid element, the jab kicks. An opponent who rushes you has in their mind that your response would be to attempt to dodge their intent tohit you. However if you train your mind, body and spirit to execute properly with a jab kick the attackers force, knows you back a little, the end result would be this

1. The attack would run into a rigid object, similar to running into a wall with a stick protruding out of it.

2. 2 even if the attackers momentums knocks you bac, it would only put you into another positon to repeat the kick again and again.

3. 3 int this secnario, the attacker would constantly get hit by you each time he rushes you and you ronly negative would be the attckers momentm knockingyou back.

4. However, at no time has the attacker been able to hit you because you repsonded properly by inserting a ridig object between him and you.

There is no need to launch fancy kicks at the attacker nor is there any need to aim forn any special areas to hit. All you have to do is project a rigid element of the attacker's body whether it be high, medium or low, it doesn't matter. 

People have misconceptions about the jab kick, because they view it as only a side kick being flicked out at an opponent. We will break down the jab kicks so you will have a clear understanding how it works and how it should be executed. 

How to form and execute.

The knee is chambered to the front of the body while tension is extended to the heel of the foot. The kick is pumped out like a jackhammer with the heel being the striking element.  While hopping on one leg the raised leg is jabbed outward to the opponent after each hop. THe contact portion of the foot that should hit the opponent is the heel and only the heel.

When to throw

You must train your body to respond using the feeling of an opponent's attack or run at you. Trying to wait until you see the opponent's attack is normally too late and they are upon you before you can initiate the leg. Therefore it is imperative that you launch the jab  when your body indicates a threat. Most times, the body responds to a threat well before the threat reaches them. The problem we have is properly responding to that feeling. If you were to launch a jab kick upon the very instant you feel the threat, then your opponent has no option but to run into it or try to figure out a way around it. Training your body to respond to the instant you feel the threat is the key to the jab kick. A triangle shape is formed, the bones in the leg are used like a shaft. 

Types of jab kicks

There are many types of jab kick options available to you if you become sufficient in throwing the jab kick with tremendous balance and accuracy. Below are a few ideas to get you started as an expert in the jab kick strategy or tactic. 

The regular jab kick.

This technique is used by simply being headgressor and launching a series of jab kicks at the opponent while moving toward them. 

The tapper

This technique is used by simply being the aggressor and launching a series of jab kicks at the opponent while moving toward them and slightly tapping their body or arms to make them raise their arms or move backwards. When their arms are raised, launch a hard jab kick to the body or the arms that will cause the opponent to lose balance or move in a backward direction. Once they are moving backwards or in a cover position you drop the jab kick and rush with them with a flurry of hand techniques.

The stopper

This technique is used when an opponent runs at you with an attempt to get you to move backwards or give ground. When you feel their attack you respond by immediately launching the jab kick to any part of their body. In this competition it should be limited to the mid section of the body. THe objective here is to stop the opponents advance, not trying to score a point. In most cases you will score the point as the opponents feet cannot be used against you because they are using them to run at you. They are vulnerable to you as their attempt to make you retreat will fail.

The gunner

This technique is used when  you take the initiative and go aggressively after your opponent with a flurry of jab kicks that are fast and hard. This, most of the time, causes confusion to your opponent and instead of combating you they are more concerned about finding additional space to set up or evade your onslaught of jab kicks. Once you feel your opponent is confused then you must land with one of your kicks or translate to a flurry of hand combinations.

The Change up

Launching jab kicks to a high and then low area of the opponent.

The checker

Throwing two jabs kicks when u feel they are gonna attack you. The idea is to shoot a flag up saying u are ready to attack and make the attacker feel their attack won't work.

Triangle defense

When an opponent or attacker is too close for you to respond as described above, your triangle becomes. the distance from the attacker to you which we will illustrate as the cosine of the triangle. You and your opponent are always aligned on the cosine of a triangle. Knowing this fact will make it easier to convert your response to a ground triangle. (LOOK AT BOOK FOR FIGURE, page 25 green) Notice the ground triangle. You must always move on the short leg of the triangle which is called the “sine” of the angle. Your defensive tactics must be initiated on the hypotenuse of the angle. Notice the attackers cannot use their left side to enhance their attacks as your position has placed you on the side of their only available projectiles. If you respind to the right of your attacks, it would then leave you vunearble to the hand and foot on the other side of their bdy. This is why our rule in defense says “if you evade your opponent to their strong side, then you must immediately initiate a strike, punch, kick, or bob and weave technique. Also, our drawings do not depict the proper position you must achieve to strengthen your movements. It is preferable that when you position yourself to evade an opponent, you must place your feet in a position which will lessen your opponent's ability to maneuver or reposition successfully. 

“Strong / weak” side

To help you understand what is meant by an opponent strong or weak side, we will use the above figures to explain (LOOK AT FIGURES, page 26 green) In figure one (right leg and punch) if you were to defend by stepping to the left of the attacker and control his projecting element or punch, then you have minimized his options practically to zero. If you were to step to the left and control the opponent's right punch, the only available attack for the opponent is his left side and you have stepped to the side furthest away for any of the opponents available attacking or projecting element. However, if you were to step to the right, then the opponent has two option attacking elements to project toward you and that is his left hand and foot. So the more elements you make available for the opponent to attack you with, is considered his strong side. This is why our rule is to immediately project a technique to the opponent when you maneuver your strong side.

In figure 2 (left leg and right punch forward) if you maneuver to the left and control the opponents projecting technique, though render im limited to the rear leg on his right side to attack you. Although, in this position, the opponent, if you allow him to, can rotate his body toward you by shifting his stance and rendering his position into a very strong offense. Therefore, our rule when maneuvering the left or right, the control technique should cause the opponent a temporary loss of balance to be considered an effective defined maneuver.

Remember, just because you are successful in blocking or controlling an opponent's projecting techniques, doesn't necessarily give you the advantage, For instance, in figure one, if you were to step backward with your right leg and control the opponent's right hand strike with a left high lock or control, you both would be in the same position of attack or defense. No one would be considered to have an advantage. Your left arm and his right arm would be engaged in a check mate situation while you would be able  to initiate a right punch and right kick, he would be able to initiate a left punch and a left kick. Stale mate. Control techniques should be utilized to render the opponent off balance or to falter. If your control technique does not result in that effect, then it was weak and had no substance behind it. 

Sparring signals for usgks coaches

(LOOK AT FIGURES, page 28,29 green. 

Karate & Rank

One can obtain rank by simply having physical ability and not be endowed with the true essence of what rank stands for. In the days of old, all belts were the color white.

During training and hard work on a daily basis, the belts began to change in color.

The dingy yellowish color from

sweat and dirt for an individual training a short period of time, approximately 3 years.

Rank was issued to student

who practiced diligently and consistently and who never needed to be recognized as a higher level than another. To master the art took almost a half of a lifetime. Nowadays, students become very impatient if they have not received rank in two to three months of training.

The old masters never gave rank as we now do. After each practice session, all belts were removed and placed in a sacred place for safe keeping. Each day the masters would remove the belts and issue them to the students. When the masters noticed a significant darkening of the belt, the student was tested and sent to learn a higher level of techniques. This procedure always assured the masters that the student was potentially ready for higher learning by the color change in the once white belt.

This procedure was only a small evidence of rank, the student had to have several distinct virtues of the Bushido in order to move on, even if his belt color indicated advancement.

Listed below are the seven distinct virtues of the Bushido (The way of the warrior). These virtues were a part of life and became actual codes of order in which the Bushido lived by. They were:

1. Justice: Dishonesty and deceit did not constitute justice, even when supporting loyalty--they were unworthy acts.

2. Courage: This was the quality that provoked national admiration.

It meant an integration of moral and physical

courage, not simply physical bravery or daring. Courage was based on serenity (clarity).

3. Benevolence: It is a

composite of magnanimity

(generous, affection, love, pity, and sympathy.

4. Politeness: Although the earlier Bushi valued courtesy, it was always related to self-protection. Courtesy disciplined the soul and brought a refined harmony of mind and body.

5. Veracity: Truthfulness, a twin brother to justice.

The concept of honesty rose from the Nara period which saw "divine protection based upon honesty."

By the Muromachi period this percept gave rise to the expression "Bushi no ichi-gon"

implying that

written pledges were unnecessary because the word of the warrior was sufficient. During and following the Tokugawa period, Bushi who entered businesses often failed because they did not exact written contracts.

6. Honor: Honor involved more than a Bushi's reputation; it dug deeply into his ancestry. For honor the Bushi would quickly empty his scabbard. The taking of life was sanctioned if done in defense of honor. He was prone to slay all who offended his honor.

7. Loyalty: Underlying his philosophy of life was the warrior's idea of loyalty to his superiors.

Glorifying the idea of "service and fealty(faithfulness) to a lord-leader-cause," the Bushi's loyalty was firm.

Even if the superior fell in defeat, there would be no transferring of allegiance.

These are the virtues of the Bushido, save them to memory, and try to place them in your life along with your technique. You will find it makes a great difference in both. You will encounter several new things in this training manual as required by the Universal Shorei-Goju Karate System. Study it and memorize both the English and Japanese terms, as they are required for you to know at this level. Our testing system is to assure our instructors that you indeed know "KARATE" and not just a system of hitching. For one true karate is the “art of not fighting” 

Basic and advanced self defense

You will find that a variety of martial artists overlook the significance of basic and advanced self defense as they feel nowadays with faster and stronger individuals, it would be futile for one to step back when being attacked by a much larger and maybe faster opponent. However, they tend to forget that strength comes in the mental aspect as well as the physical aspect. If your thought process has gotten no further than the physical size of an opponent, you will never be a good or excellent martial artist. You will resolve yourself to only be a pretty good fighter. Fighting is not an art, it's a skill. When you take that skill and connect it with the mental strength you have, then your skills and power cannot be measured.

No one would stand before a power source that is coming if there was no pure confidence in their

straight them, if there was no pure confidence in their ability to handle it. Therefore, martial arts training places you in a zone where you are assured of dealing with the power source. Understanding the dynamics of a human body and how it has to move, generate energy, and control that energy source gives you the upper hand on the power source that is coming. In the mind of the power source you are simply stepping back, but in all actuality, you have stepped into an oblique position which is strengthened by angles, balance, stability, power, focus, and technique.

When an opponent attacks you, they are also depending on your body mass to help hold them up. The opposite force of them hitting you serves as the equal and opposite reaction they need to maintain stability. Therefore, when you disallow this factor to become a part of the formula for them, you have mathematically disturbed their balance criteria. The process you need now is to keep that balance in a disturbed state and increase it by counter striking specific center points of their body with enough force to keep the disturbed balance increasing.

In other words, the important thing that is important about practicing the basic and advanced self defense forms i. learning the proper positioning and forces necessary to keep an opponent in an off balance atmosphere.

So, our suggestion to you is to continue to practice the basic and advanced self defense forms and take the fundamentals of what you are doing beyond the physical aspect of training When an assailant attacks you, the angles below are a few of the angles you have at your disposal to aid in disturbing the attackers' balance points. Your assailant has only one available to them and that is the straight line of attack. Therefore who really has the advantage here?

Appreciation

• Shujin master ben peackock

• Senseis moriam and roselia van postal

• Sensei erica ventress

• Sensei terrel nunnery

• Shihan master keenetheth young

• Senseis gleen turner & philli tucker

• Sensei tracy nunnery

• Shihan master darrel simms

• Shihan master essie calvert

Tsuki and uchi waza- punching & striking techniques

Seigyo waza - controlling techniques

Geri Waza - kicking techniques