Sensei's Teaching Manual - Blue Belt (5^th Kyu)

Possession, in any form, or use of this manual is intended for and restricted to Iwatana-do Okinawa Kenpo Black Belts with the minimum grade of Sho-dan.

Okinawa Kenpo Karate students of Master Hideka Nakayama, Master James Lloyd, Master Larry Peck, or Master Jeffrey L. Riggs may possess and use for the sole purpose of instruction of Okinawa Kenpo Karate as long as the text remains unaltered and completely in tact as written. Master Jeffrey L. Riggs must retain credit as author and any Sensei using or in possession of this manual must be registered with Iwatana-do Okinawa Kenpo Karate.

Good Luck On Your Journey,

Jeffrey L. Riggs, Roku-dan
Iwatana-do Okinawa Kenpo Karate, Hanshi

Blue Belt

(5^th Kyu)

The following manual will assist you in teaching the minimum requirements needed to attain 5^th Kyu or Blue Belt. Strongly urge your students not to restrict their knowledge to what is in this text as it is the goal of the style to open our minds. It is an open mind that allows the awareness and comprehension levels that you need to form.

By the time a student attains 5^th Kyu he should be able to recite or write from memory the Rules of the dojo. As such he should not have any problem remembering them and once 5^th Kyu is attained rule violations can be assumed to be intentional. Though lapses in responsibility will allow a student to forget or overlook a violation that they may perceive to be minor. Do not treat it as such as the Rules are for the safety of all participants and their property. Proper supervision is a must at all times.

The Constitution and Laws should become more familiar to the students but still not need be committed to memory.

Counting to 10 in Japanese is a must for 5^th Kyu. Other dojo terminology should be proficient to the level of the students. This means that the students should know what they are what their sensei is, and terms they regularly use or perform. Such as:

Sho dan

Ni dan

Etc. up to the rank of the Sensei

Shiro obi

Ro Kyu

Ect. up to their rank

The title of their sensei

Any words or terms regularly used

At this point in the training you should start to use the appropriate Japanese terminology within the capabilities of the class.

The student should have committed to memory the lineage of the style back to Shigeru Nakamura and have an understanding of who they are. They also should be able to articulate that Okinawa Kenpo was developed from Shorinji Kenpo, which came from China.

NEWTON’S LAWS OF PHYSICS

It is most important that a student be able to comprehend how a particular technique works. For this the student will need to understand some basic principals of physics.

Newton’s 1^st Law;

An object at rest or in motion, shall remain at rest or in motion unless acted upon by another force.

Newton’s 2^nd Law;

An object acted upon by another force will change its velocity in the direction of the other force. The amount of change will be proportional to the amount of force.

Newton’s 3^rd Law;

For every force acting on an object there is another force equal in amount and opposite in direction acting upon some other object.

These Laws, combined with basic anatomy associated with Pressure and Target Points on the body will help the student understand how and why a technique works.

Make every effort to explain the dynamics of a technique using simple but scientific language. Explain how and why a particular technique gets it’s force and the physiological make up of the target area and why a technique works when this area is targeted.

Don’t be afraid to use medical terminology, students, especially young ones will retain more than you can imagine. You will find, as will the students, that the medical terminology will make discussing this topic much easier. It is like identifying a location by name as opposed to describing how to get there.

At this level in their training they are not required to remember the scientific or medical language, as long as they can identify correctly the target areas on the body and the effect when targeted.

I found that books on anatomy helped immensely in this area. Though medical journals will do, we don’t need that kind of detail. Texts designed for Paramedics, First Responders, and Emergency Medical Technicians will do. First Aid books published by the American Red Cross use plain language in this area and will be of little use. Though you should hold an Advanced First Aid card and a CPR card.

Pressure & Target Points

There are hundreds of areas and specific points on the human body that will cause varying degrees of injury or incapacitation, from a mild stun or distraction up to and including death. Included here are some of the easier ones to strike or most effective. With enough force most of these can be deadly, proper instruction with an eye towards safety is a must and stress frequently this information is not to be played with.

HEAD

Sphenoid part of the skull, top/front

Nasal bone, between eyes

Maxilla, bottom of nose.

Hyphoid bone, Adams apple

Thyroid gland, bottom of throat

Seventh Cervical Vertebra, back of the neck

External Occipital Protuberance, base of the skull

Transverse Sinus, back of the head

Somesthetic nerve, under the ear

Strenomastoid nerve, side of the neck

BODY

Zyphoid Process, bottom of the sternum

Diaphragm, top of the stomach

Floating ribs

Under the arms

Top of pubic bone

Genitalia

Inside of thigh

Outside of thigh

Just over the kneecap

Kneecap

Shin

Top of the foot

Achilles’ tendon

Back of knee

Knowing and using these targets will maximize the efficiency of your art. But it is imperative that you only practice on equipment designed for such practice and not a partner.

MOVEMENT

Shuffle Step:

This is like skipping. You push off with the foot that is opposite of the direction that you want to move reaching out with your leading foot. Momentarily both feet are off the ground. When the leading foot lands then you pull in the trailing foot to the stance that you have chosen. This technique is not limited to any particular direction, depending on your stance. But while both feet are off of the ground you are not rooted.

Cross Step:

This facilitates lateral movement by moving one foot in front of or behind another and placing it on the opposite side of the other foot. The other foot then is placed back in its normal position thus facilitating one step to the side. Crescent movements should be used to avoid tripping. This is a more advanced technique than the shuffle step, but you are rooted at all times.

TECHNIQUES

Double Block:

This is a 2-fisted block, though there is a variation where open hands are used. The arms are extended forward centered between the shoulders with both fists closed and one over the other with the palms facing away from each other. The wrists are tightly pressing together so as to cause tension thus requiring force to separate the fists. The technique is caught between the fists and the resistance of the arms moving absorbs the force of the technique.

Knife Hand Strike:

This is a linear strike with an open hand, the hand is tense and vertical with the striking surface being the outside edge of the palm.

Elbow Strike:

This is a circular strike with the front of the elbow being the contact surface. This technique is functional at any angle but is most commonly used horizontally or vertically.

Cross Stomach Punch:

This is a linear punch across the stomach to your other side with a closed fist. The fist may be either horizontal or vertical.

Back Knuckle:

This is a linear strike with the fist with the palm facing up. The striking surface is the same as in a punch.

Back Fist:

This is a circular strike with the fist that uses the back or top of the fist as a striking surface.

Behind the Head Punch:

This is a circular strike that is different from most and is quite unique in that it starts with the arm extended and down. You then start a circular move with the arm upward with the palm up. While doing so you bend the arm at the elbow keeping the wrist locked and strike a target behind you and over your shoulder. This will cause the circular motion of the fist to follow and arch with a decreasing radius. It starts big and ends small. The graduating radius is required to gain power (Big) and still strike so close to the shoulder (Small).

Hammerfist Strike:

This is a circular strike with the fist, usually downward, using the meaty outside of the fist as the striking surface.

Reverse Hammerfist Strike:

This is a circular strike with the fist, usually upward, using the meaty portion of the fist between the fore finger and thumb as the striking surface.

Double Openhanded Block:

This is a two handed, circular strike used to block or redirect a forceful technique. It is performed by both hands traveling in individual arches though in synchrony from the opposite side of the technique towards the technique meeting it with both hands in line with each other, and both striking the technique. The striking surface is the outside edge of the palm. It is basically Osudo strikes done with both hands simultaneously.

This also can be a linear strike with both hands starting from the opposite side of the technique near the ribs traveling straight into the technique with both hands in line with each other. It is basically Knife Hand Strikes done with both hands simultaneously.

Sweep:

This is a circular technique used by hand(s), foot (feet), or both hand(s) and foot to find and/or move an opponent. It can be used as a block and usually travels from the weak side to the strong side. It is easily confused with a Parry.

Parry:

This is also a circular technique usually used by one or both hands to redirect a technique. It can be done with a foot though unusual. It is a blocking technique and usually travels from strong side to weak side. It can be used to sweep.

Spear Hand:

This is a linear technique done with a rigid open hand with the fingers together and slightly bowed (to prevent injury). It takes years to condition the hands so as to use this technique with a flat hand safely. The technique is performed by lunging the hand, finger tips first, into the target.

PHILOSOPHY

The story, The Boy and the Fisherman should be given to the students with a discussion of its meaning. A short paper on this story could be written by the student and kept in their notebook with it.

Once this is done, approximately 3 to 5 weeks later, introduce the saying;

The journey of a thousand miles begins with a single step. Once this is discussed and its meaning is clear initiate a discussion comparing the two lessons. Philosophy will receive greater attention as we progress.

HISTORY

The history of martial arts should be general at this point. I have put in a lot of research on the topic and this information can be found on the web-site at IWATANAKARATE.TRIPOD.COM and is there for the use of the students.

Merely copying this and placing it in a notebook is not sufficient. They should also have a working knowledge of the content.

At this point in their training they should know who Bodi Durhama is, the route which the martial arts got to the United States, and what Shorinji Kenpo is.

Though not mandatory, the students should be encouraged to research their own work and properly document their research. I would like copies of all such work; especially work that includes any martial artist in our lineage.

NOTES:

KATA

Nahachi 1

Attention, Bow, Attention

1 Looking right, cover the right fist with the left open hand. The hands, forearms and elbows are head high. Cross Step to the right with the left leg in front of the right, then the right leg into a kibadachi and a right Knife Hand to the right striking a collarbone.

2 Pivot to the right while grabbing the neck with the right hand and perform a left Elbow Strike to the right.

3 Tension movement to left fist over the right fist at the right fist Ready Position.

4 Look left, left Down Block to the left, Cross Body Punch to the left, ending with right fist over left fist at the left fist Ready Position.

5 Cross Step left into a Kibadachi, Double Block right fist up then left fist up. Left Back-knuckle to the front with a right open hand (palm down) supporting the left elbow.

6 Left Sidekick to the left returning to Kibadachi, left Knife Hand to the left striking a collarbone.

7 Pivot to the left while grabbing the neck with the left hand and perform a right Elbow Strike to the left.

8 Tension movement to right fist over the left fist at the left fist Ready Position.

9 Look right, right Down Block to the right, Cross Body Punch to the right, ending with the left fist over the right fist at the right fist Ready Position.

10 Cross Step right into a Kibadachi, Double Block left fist up then right fist up. Right Back-knuckle to the front with a left open hand (palm down) supporting the right elbow.

11 Right Sidekick to the right returning to Kibadachi, right Knife Hand to the right striking a collarbone.

12 Pivot to the right while grabbing the neck with the right hand and perform a left Elbow Strike to the right.

13 Tension movement to left fist over the right fist at the right fist Ready Position.

14 Look left, left Down Block to the left, Cross Body Punch to the left ending with the right fist over the left fist at the left fist Ready Position.

15 Cross Step left into a Kibadachi, Double Block right fist up then left fist up, left Back knuckle to the front with a right open hand (palm down) supporting the elbow.

16 Attention, Bow, Attention.

Nahachi 2

Attention, Bow

1 Double Block, left fist up then right fist up.

2 Right Punch over left shoulder then right shoulder.

3 Right Back knuckle to the front with a left open hand (palm down) supporting the right elbow.

4 Reach out with the left hand to the top of the Back knuckle, with a tension movement bring it back to the arm pit exploding into a Forward Punch. Upon punching the left-hand stays at the right elbow.

5 Twist the wrist then Cross Step to the right loading for a right Hammer-fist high and to the right.

6 Once in Kibadachi, perform the right Hammer-fist high and to the right, the thumb side of the fist is the striking surface. Then low and to the right perform a regular Hammer-fist.

7 Stepping into a Cat Stance to the left perform a Double-open-hand-block to the left.

8 Using the Double-open-hand-block sweep to the right 90 degrees then lunge into a Crane-Stance with a right Spear-hand to the front.

9 Grabbing the neck with the right hand and stepping into Kibadachi perform a left Elbow-strike while pulling the opponent into it.

10 Left Knife-hand strike to the left.

11 Cross-body punch to the left, recover to right fist over left fist at left fist Ready position.

12 Cross-step left into a Kibadachi, then Double-block right fist up then left fist up.

13 Left Punch over right shoulder then left shoulder.

14 Left Back-knuckle to the front with a right open hand (palm down) supporting the left elbow.

15 Reach out with the right hand to the top of the Back-knuckle, with a tension movement bring it back to the arm pit exploding into a Reverse-punch. Upon punching the right-hand stays at the left elbow.

16 Twist the wrist then Cross-step to the left while loading for a left Hammer-fist high and to the left.

17 Once in a Kibadachi perform a left Hammer-fist high and to the left, the thumb side of the fist is the striking surface. Then low and to the left perform a regular Hammer-fist.

18 Stepping into a Cat-stance to the right perform a Double-open-hand-block to the right.

19 Using the Double-open-hand-block sweep to the left 90 degrees then lunge into a Crane-stance with a left Spear-hand to the front.

20 Grabbing the neck with the left hand and stepping into Kibadachi perform a right elbow strike while pulling the opponent into it.

21 Right Knife-hand-strike to the right.

22 Cross-body-punch to the right recover to left fist over right fist at the right fist Ready-position.

23 Cross-step to the right into Kibadachi then Double-block left fist up then right fist up.

24 Right Back-knuckle to the front with a left open hand (palm down) supporting the right elbow.

25 Attention, Bow, Attention.

NOTES: