1Ttl KYU
8th KYU
YELLOW BELT
KATA
HACHYHENKAY
• This kata is preformed by jumping from the center position on the diagram below to each number in sequence. On numbers 1, 3, 4, 5, and 7 the hands sweep up and are held open at the moment of landing and the body faces the direction hopped. On numbers 8, 2, and 6, one hand is held at the level of the floating rib and one at the level of the shoulder (mix up which one). This is a pure Kosho kata and is governed by freedom of movement not rigid rules.
• Zenkustsu Hachihenkai is preformed by stepping to the angle immediately to the left or right of the angel being moved to and performing a gadon bari uke. This helps to learn the zenkutsudachi.
• Kokutsu Hachihenkay is preformed by stepping along the angel being moved to and performing a shuto uke.
[pic]
KRAXBERGER SHIHAN KATAS
These Kata where designed by Mr. Kraxberger in the summer of 2001 to teach basic skills to new students. These katas are also designed to be taught over a long time. Meaning a student will learn only the stances block ect that they use in other Kata at that time. All hand strikes and blocks are preformed to #1 on the octagon to matter the direction actually being faced.
Mr. K > Woodie
DACHI NO KATA
• Begin at Hachiji dachi facing #1
• Open toe/ heel to Heisoku dachi #1
• Open toe / heel to Fudo dachi #1
• Open toe / heel to Kiba dachi #1
• Rotate right foot on heel to 45 degrees to Zenkutsu dachi #5
• Rotate right foot on ball to Kokutsu dachi #4
• Suck in right foot to #7 Neko ashi dachi #7
• Lift right foot to ippon dachi facing #1
• Set right foot in front to Juji dachi facing #1
• Right foot slides back to # 6 for a Hangetsu dachi to #1
• Right foot up to Kiba dachi #1
• (Reveres from Kiba dachi)
UCHI NO KATA
• The pattern of blocks is gadon barai uke, Soto chudan uke, uchi chudan uke, Shuto uke, augai uke,
SHODAN
• Kiba dachi, turn left into a Zenkutsu dachi to #5 and perform pattern with left hand.
• Reveres Zenkutsu dachi to # 7 and perform the sequence with the left hand.
NIDAN
Same as Shodan but turn to left block, turn to right same block then turn to left do the next block, turn to right same block as last time, ect.
SANDAN
• Begin by turning to the left and blocking turn to the right and perform the next block turn to the left and do the next block ect. Then repeat on the other side.
ATAMI NO KATA SHODAN
• All strikes are in sets of four the sequence goes, right inward Tettsui ken, inward Shuto uke, inward ridge hand, empi. On the forth empi (a left one) throw a left Tettsui ken and continue the pattern on the other side.
ATEMI NO KATA NIDAN
• Kiba dachi all strikes are right left
• Punch to chudon level
• Vertical fist to chudan level
• Uraken zuki to imagined side of chin
• Sideways palm to floating ribs
• Vertical palm to coiler bone on second one retract and punch to chudan, continue in the reversed pattern.
JUNI IPPO KATA
The foot pattern is the same for all Juni Ippo Kata. All stances are Zenkutsu dachi unless otherwise noted. In Nidon the punch goes to the lower tanden and an upward block is preformed. In sandon the punch is mid chest and a lower level sweeping block is preformed.
Robert Tias> Larry K>Woodie
• Yoi
• Raise the left hand to shoulder level and retract it to the right hip in a cover while chambering the right hand.
• Step punch three times.
• Open the right hand while still extended from the punch.
• Cross step with a left lead Juji dachi to a #4 front stance.
• Make a half circle with the hand beginning at the bottom and moving in.
• Punch
• Step and hook punch
• Step punch twice.
• With the hand still extended from the last punch, open the hand take one step, then pick the heals and pivot to #2.
• Reverse punch
• Step then reverse punch 3 times
• Then step and throw a smother like a reverse hook/spear-hand
• Cross the right leg behind unwind to a Zenkutsu dachi facing #1 and block
• Step up and Yoi.
KNOW
Cho Chiku bai
• Kigan: Ogamita / praying hands
• Kai ishue: Muta / emptpy / open fist
• HokenP: Hiken / covered fist
7th KYU
ORANGE BELT
STANCES
HEISOKU DACHI (Crescent Moon Stance): Feet are double shoulder width feet are straight. Identical to the horse stance accept that the opponent’s center is framed by the feet.
HEIKO DACHI (parallel Stance): Feet touching each other and pointed straight ahead.
SHIKO DACHI (Square stance A.K.A. sumo stance) : identical to the Kiba Dachi but the toes are turned out 45º.
SANCHIN DACHI (Hour Glass or three conflicts stance) feet are at 1.25 shoulder width both feet are turned in. the feet are pushing to rotate out the knees are pushing to collapse in on them selves.
STRIKES
TATE KEN (VERTICAL FIST)
TETSUI KEN (HAMMER FIST)
HIRA KEN ZUKI (HALF FIST)
SHOTEI (HEAL OF PALM)
HAITO (INNER KNIFE HAND)
NUKITE SPEAR HAND
KICKS
HIZA GERI KNEE KICK
KIN GERI GROIN KICK
KAKE GERI HOOK KICK
YOKO KEAGE SHOVEL KICK
KANSETSU GERI JOINT KICK
UCHI MAWASHI GERI INSIDE ROUND
SOTO MAWASHI GERI OUTSIDE ROIJNO
KATA
PINON SHODAN
• Yoi
• Fall to #3 Hidari Zenkutsu dachi, gadon barai
• Step punch
• Cross behind with the lead leg; turn to #4 gadon barai uke
• Shift the front foot into Kokutsu dachi Migi Tettsui ken
• Step forward into Zenkutsu dachi and oi zuki
• Shift back to face #1 Hidari gadon barai uke, with the same hand augai uke (open the hand)
• Step Migi uagi uke (open the hand)
• Step Hidari augi uke (open the hand)
• Step Migi augi uke (do not open the hand)
• Turn behind to # 4 and gadon barai uke
• Oi zuki
• Shift front foot to turn to the right to face #3 Zenkutsu dachi, gadon barai
• Oi zuki
• Shift front foot to turn left into a Zenkutsu dachi to #2 gadon barai
• Oi zuki
• Step into a haiku dachi and Hidari zuki
• Step out to a Migi Zenkutsu dachi and oi zuki ki-ei
• Shift back foot to #4 turn to Hidari Kokutsu dachi and Shuto uke
• Step to #6 Shuto uke
• Slide front foot back along the line last stepped until it meets the other foot then push it to #3 and Shuto uke
• Step to #8 and Shuto uke
• Yoi
PINON NIDAN
JO KATA SHODAN
JO KATA NIDAN
REQUIRED TAPES
PINON 1-5
HSTORY
NAHA,TOMARE & SHURI
YUKINAGA KONISHl
KATO KORIMASA
JIGARO KANO
HIDIORI OTSUKA
MOREI UYESHIBA
CHOKI MOTOBU
KOSHO RESTORITIVE
SEDTION CYCLE
TONIFICATION CYCLE_
A.WATER_ B.FIRE_ C.METAL_ D.WOOD
E.EARTH_?
A.WOOD_ B. FIRE_ C.EARTH_D. METAL_
E.WATER_?
ONNA NO UKE WAZA
NOSE SIDE
EAR SIDE
BUNKAI
A.NAGAE_ B. YAWARA NO WAZA
UKI NO WAZA
OUTER KNEE
INNER KNEE
BOTH SlDES OF OCTOGONE
REQUIRED CLASSES
KUMITE 1. 2. 3. 4. 5. 6.
ATEMI NO WAZA 1. 2. 3. 4. 5. 6.
NAG4E NO WAZA 1. 2. 3. 4. 5. 6. 7.
KOBUTO 1. 2. 3. 4. 5. 6. 7.
SHODO
[pic]
6th KYU
PURPEL BELT
KATA
PINON YONDAN
PINON GODAN
KI NO KATA
OCTOGON 3/8 182
JO KATAS
SANDAN-YONDAN
TAPES REQUIRED
BUNNKAI 1-5
GAMAE
REQUIRED CLASSES
KUMITE 1. 2. 3. 4. 5. 6.
ATEMI NO WAZA 1. 2. 3. 4. 5. 6. 7.
NAGAE NO WAZA 1. 2. 3. 4. 5. 6. 7.
KOBUTO 1. 2. 3. 4. 5. 6. 7.
[pic]
HISTORY
GENRAL CHOI
HWANG GEE
MIAMOTO MUSASHI
YAGYU MININORI
CHOGEN MIYAGI
GOGEN YAMAGUCtlI
GICHEN FUNIKOSHI
ARUKI NO WAZA
KUMITE APPILCATION
LEFT LEED /RGIHT
DISTORTION POSITION
A.NOSE_ EAR_
ONNA NO ATEMI WAZA
YAWARA NO WAZA
FRONT TWO HAND
FROM RIGHT HAND
WRIST GRAB
CROSS GRAB
BUNKAI OF A GRAB RELESS
PROPER GAMAE FOR ONNA NO ATEMI
PROPPER GAMME FOR GRAB
PRPPPER GAMME FOR ROUNDHOUSE PUNCH
HISTORY
SID ASUCION (KENKABO)
EDMUND PARKER(AMERICAN KENPO)
ADRIANO EMPERADO (KAJUKEMPO)
ROGER CALLEIJO (KODENKAN KARATE)
TINO TELOSAGOS(LAMA LAMA)
WAITER GODIN (KENPO)
RALPH CASTRO (SHAOIN KEMPO)
SIMION ELI (THIRD SCHOOL HEAD)
HENRY OKAZAKI (KODENKAN JUJITSU)
SIG KUFERATH (DANZAN RYU)
BROTHER ABE (KAJUKEMPO)
KATA DENSHO
JUNI IPPO
OCTAGON
PINON KATA
JO KATA
NEKO BUTO
OCTAGON
3/8 DRILL 1,2,3,4
YAWARA WAZA WRIST 1-4
GAMAE 1-4
SHU GYO LEVEL
GERI NO WAZA
UKE NO WAZA
ZUKI NO WAZA
YAWARA NO WAZA
NAGAE NO WAZA
ATEMI NO WAZA
KATAS
NEKO BUTO SHODAN
NEKO BUTO NlDAN
NEKO BUTO SANDAN
JO KATA
NAI-HAN-CHI
REQUIRED CLASSES
KUMITE 1, 2, 3, 4, 5, 6
ATEMI NO WAZA 1, 2, 3, 4, 5, 6, 7
NAGAE NO WAZA 1, 2, 3, 4, 5, 6
KESHI RYU
MAEGOSHI (ASAYAMA ICHIDEN RYU)
• Three steps forward while preparing to draw sword.
• Yoko kasa draw
• Yoko notoe / chuburi
• Zazen
• Thre steps backward
MUSOGAESHI (SHIDO MUNEN RYU)
• Three streps forward while preparing to draw the sword
• Tsuka uatai
• Turn 180 degrees while drawing in a ichimangi
• Shomen
• Yoko notoe/chuburi
• Turn 180 degrees
• Zazen
• Three steps back
MIGI NO TEKI (KYOSHIN MUYOCKI RYUJ
• Three streps forward while preparing to draw the sword
• Turn to the right and draw in a showmen
• Shomen
• Shomen
• Yoko notoe/chuburi
• Turn 90 degrees
• Zazen
• Three steps back
MAWARIGAKE (TAMIN RYU)
• Take three steps forward while preparing to draw the sword
• Turn to the left and draw in an ichi mangi
• Shomen
• Yoko notoe/chuburi
• Turn 90 degrees
• Zazen
• Three steps back
SHIHO (TATSUMU RYU)
• Take Three steps forward while preparing to dwaw the sword
• Turn left and draw in a shomen
• Shomen
• Turn 180 dregrees and shomen
• Shomen
• Tunr 90 drgrees to the left and shomen
• Shomen
• Yoko notoe/chuburi
• Zazen
• Three steps back
TERMS
SAYA; THE SHEATH
TSUBA; THE GUARD
HABAKI; PART THAT SEPARATES BLADE EROM SEPPA
TANG; BASE OF BLADE
OBI; BELT
IAI HIZA
REQUIRED TEXT
WHAT IS SELF-DEFENSE
LAST DISCIPLE
[pic]
REQUIRED SEMINARS AND TAPES
NEKO BUTO AND BUNKAI
SHODO #1
SHlATSU #2
S.K S.K. IAIDO SEMINAR
S.K.SK. RESTORATION SEMINAR
RESTORITIVE
DEFINE YANG CONDITION
DEFINE YIN CONDITION
WHAT IS THE THEORY OF JIN SHIN DO (WAY OF THE COMPASSIONATE SPIRIT)
OCTOGON 12,6,3
1, 2, 3, 4, 5, 6
[pic]
[pic]
4th KYU
GREEN BELT
KATAS
NAI-HAN-CHI NIDAN
NAI-HAN-CHI SANDAN
ENN NO GYO SHODAN
TENSHO KATA
TERMS
ASHI ATE WAZA (FOOT AND LEG STRIKING)
ATO UCHI WAZA (EEIMING TRICKS)
BOGYO GERI (KICKING DEEENSES)
CHUSAN WAZA (CENTERING EXERCISES)
DENSHO (LEGEND)
HYOSHI (TIMING)
JIYU KUMITE (FREE SPARRING TRICKS)
KANSETSU WAZA (LOCKING TRICKS)
KIERU WAZA (DISAPPEARING TRICKS)
KIHON TEKI (FUNDAMENTAL)
NE WAZA (GROUND TRICKS)
REISHIKI (ETIQUETTE)
KOGA KEN KEIKO (REPOSITIONING WITH SWORD)
KOSHI WAZA (HIP THROWING)
MA Al (DISTANCING)
TAPES REQUIRED
FREEZING
NAI-HAN-CHI
THROWING
KEYS 1-6
SHODO #2
SHODO
UPWARD CURVING BIT
RISING HORSES BIT
BOWED HORSES BIT
MOTHER DOT
IVORY SCEPTER
HANGING NEEDLE
CARPENTERS SQUARE
HISTORY
AARON BANKS
ROBERT TRIAS
TOM CONNORS
AL REYES SR.
AL DECASCOS
TONY RAMOS
STEVE ARMSTRONG
ROBFERT RAPUE
NISHIYAMA
OSHIMA
KUBOTA
KOSHO RESTORATIVE
HEADACHE
HIP RELEASE
BASIC THEORY 0F SHIATSU
TRACE CONCEPTION VESSEL
TRACE GOVERNING VESSEL
OCTAGON
3/8 DRILL 1-5
ARUKI NO WAZA ALL ANGLES_
APPLICATION
BOGYO WAZA
KANSETSU WAZA
KOGA KEN KEIKO
ASHI ATE WAZA
3rd KYU
BROWN BELT
ATEMI NO WAZA
1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20
KANSETSU NO WAZA
1, 2, 3, 4, 5
BOGYO WAZA
1, 2, 3, 4, 5 APPROVED
KOGA KEN KEIKO
1, 2, 3, 4, 5 APPROVED
KNOW
BUNKAI OF JUNI IPPO
PINON 1-5
UNDERSTANDING OF NOGARE, NOGARENI AND IBUKI BREATHING
RADICALS AND DEFINITIONS FROM 1-124
UNDERSTAND AND KNOW WAYS OF USING TRAINING
MEDICINES
PRINCIPLES OF CAGING
ATEMI
KUMITE
NAGAE
KATAS
ENN NO GYO NIDAN
ENN NO GYO SANDAN
NAI HAN NO KATA
OUTSIDE KATA;
WANCHU KATA
Woodie Rentz< Bonifacio Samson,< John Murphy Bill Chun
Gathered Papers
From Mitose's "In Search of Kenpo," p. 38
THE HONORABLE GREAT GRAND MASTER (THANK YOU-MASA)
In the town of Kumamoto, in Southern Japan, lived a Great Grand Master of Kosho-Shorei True Self-Defense. He was also a master of psychology. When this story happened, he was 120 years old. His real name was Masa-yoshi Kosho, but everyone called him "Thank You-Masa".
Why did they call him that? Let us watch and find out.
Each morning when he awoke, he would blink his eyes and look around. He would nod to the morning sun, and the chirp of the bird would bring a smile to his face. The sounds of his family would make his smile grow wider. He believed that it was the mercy of God and Mother Nature that he did not die during the night. He rejoiced that he had another day to enjoy nature, his family, his neighbors and his friends. This made him so happy he would cry out, "Thank You! Thank You!"
His friend asked why he cried out, "Thank You!" He replied, "I could have been injured. Because of God's mercy, I have not been injured. So, I said my gratitude to God."
On another day, when he was 127 years old, he almost received a bump on the head from a falling tree branch, but again he jumped and escaped from being injured. He again cried out, "Thank You' Thank You!"
One day, when he was 130 years old, one of his good-hearted disciples got sick. Great Grand Master went to visit him. He told his disciple, "There are many people suffering from sickness in this world, many worse than you.
"Because of God's help and mercy, you are not suffering much. You should thank God." He then prayed, and cured the disciple by using the Kosho-Shorei energy-healing art. Then, he cried out to God, "Thank You! Thank you, for healing my disciple."
When he was 137 years old, he was returning home late from a friend's house. Along the way, a ferocious looking bandit leaped from behind a bush. The bandit whipped out his sword and demanded money. As the bandit turned to go, he cried, "Thank You! Thank You!"
The bandit turned in astonishment, realizing whom he had just robbed. He knelt in front of him and returned the money. The bandit said, "I'm sorry. I know you are the Great Grand Master of Kosho-Shorei True Self-Defense. I have heard of your skills. You could have escaped easily, but you gave me money and you said, 'Thank You! Thank You!' Why?"
Thank You-Masa replied, "I thought you might injure me with that sword. You chose not to. Suppose it had come to a fight, you might have injured me. Fortunately, in God's mercy, this was all avoided. So, I said thank you to God, and also to you."
The simplicity and beauty of this statement so affected the bandit, he gave up his evil ways. He became a disciple of Thank You-Masa's. After years of devotion and study, the ex-bandit became a well-known Minister of Kosho-Shorei True Self-Defense. People called him "Number Two Thank You-Masa" and they also called him a Saint.
When Thank You-Masa realized God finally was calling him to heaven, at the age of 150 years, he gathered his family, friends and disciples before him. He told them how grateful he was for being born a human being.
If he had been born an animal. such as a dog, cat, horse, or cow. He would have had no control over anything. He was thankful to have been a human, so as to have some control over his destiny. He told them that if we forget to give thanks, we are less than the animals. This is because all animals have a sense of thanks.
"So, always remember to give thanks, first to God, then to others." He nodded his head, and cried, "Thank You! Thank You!" Then he smiled and passed away.
SPECIAL NOTE
Remember, do not forget Thanksgiving Day. We should think that every day is thanksgiving day and give thanks to god, Jesus Christ, Buddha, human beings and nature, including animals, birds, fish, plants and other things.
My name is Larry Kraxberger and I have been studying Kosho Shorei Ryu Kempo for the last eighteen years. Prior to that I put in a few years in other disciplines. I feel fortunate to have made contact with some remarkable people during those years and hopefully this resource will continue the process. I was added to this list through the enthusiasm of Steve Miller. While I will likely keep track of general conversation it is unlikely that I will have much time to add to the flow of information. I think that it is an interesting option and I forgive Steve for his eagerness and I don't spend a great deal of time online. This piece is by way of introduction.
SKELETAL FREEZING: Basic Principles and Philosophy
All martial arts are identical. They all employ the same raw materials with the same general intent. What differences are noted in various martial applications are the reflections of the cultural origins, historical perspectives, environmental resources, philosophical foundations, and the interpretations of the individual practitioners who bring their wishes, biases, prejudices, and egos to their study.
There was a time when the sharing of information with people from outside your school was unthinkable because it might give away the one secret on which you depended for the protection of your life. Today, that attitude is only found in the fantasies of people who are too paranoid to genuinely trust their martial study. I have been commissioned by my teacher to share what small insights I can with anyone who is interested in learning. If I believe that this study has the power to change lives, and I do, then I must be willing to share it with anyone. No one needs preachers who only sermonize to the choir, ships are secure when they are at rest in the harbor but that is not what ships are for, and the forests would be a quiet place if only the most beautiful bird were allowed > to sing.
I am addressing this message to Turiyan but it is also meant for anyone who decided that because of that person's poor first impression they should be denied access to information which is readily available to anyone who has ever watched a child learning to walk. The only true value in sharing information is in breaking down barriers to communication. Never fear that someone can steal your martial arts knowledge. If the sum of what you know of the martial arts can be stolen then you have barely scraped the surface of the study. The surest way to learn an art form is in freeing yourself from fear and conflict and I hope that Turiyan can do that. (Incidentally, Robert, there is a world of difference between turning the other cheek and sharing some simple observations. If Turiyan can share and learn then it is a good thing and if he can't then it is a sad thing.)
The great difficulty in attempting to share insights into an art form is in recognizing that no matter what you say the only important information is what the person that you're sharing with hears. James Mitose said that words are a difficult means of communication. I sav that he understated the problem. The term "Skeletal Freezing" is just a way of describing the temporary inhabitation of natural body movement.
Gravity is an extremely powerful, consistent and reliable force which seeks a natural state where all things that are standing eventually fall down. The body's skeletal and muscular systems resist this state, as much as possible, throughout one's life by following a series of fluid, three-dimensional rotations. Freezing is nothing more than putting one part of the body in a position where gravity can do what it does best and the body cannot adequately recover.
Since no part of the body can move independently of the rest of the body it also holds that if one part suddenly stops moving naturally the rest of the body must over-compensate.
At it's most elementary level, the freeze is initiated by the tightening or redirecting of one major rotation while motion is occurring. Skeletal freezing is not a study in anatomy, or kinesiology, or postural manipulation. It is, first and foremost, a study in developing greater awareness skills and in applying those skills as honestly as possible. Try to keep this training as simple as it already is. Most of the necessary change is in recognizing this simplicity. Kosho Ryu is not what you think.
Uncle Larry
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