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IKarate-Do
Wado-Srur
by Tatsuo Suzuki(9th Dan)Hanshi 1:9th Kyu
Editedand producedbyT Suzuki

Special thanks are due to Mr. Bob Wignall (2nd Dan) of the United Kingdom Karate Federation, for his invaluable assistancein the productionof this series.

WHAT IS KARATE ?

is Karate(empty hand), despitebeliefto the contrary, a comparatively young sport developed Okinawa, althoughits originscan be traced in back to Europeand Greecewhere the first fist-fightingand wrestling developed. In the early 17th CenturyOkinawa,whose martialarts had been degreeby fist-artsand to a lesser influencedstronglyby the Chinese clanfrom Japan. by was thoseof the Japanese, conquered the Satsuma the The clan prohibited use of weaponson the island,with the consefrom techniques quence wherepossible using Okinawans, thatthe native This theirhandsand feetas lethalweapons. arts,developed theirmartial form of combatwas first named"karate"in 1905,and did not reachthe mainlandof Japan until some few ycars after the beginningof the 20th Century. by Karate, atthough often mis-represented the press as being "dangerous" a is and "aggressive" basically trainingto bring a person state"or "puremind".Whensuch of backto theZenconcept the "natural himself, and is freefrom the is reached individualhas overcome a state and pain. and the inhibitions fearsof hardship by wasfounded Proof The Wado-ryu(way of peace-school) karate the studied finerpointsof who for manyyears Ohtsuka fessorHironori and for combat) formin preparation armed a Ju-jitsu(basically wrestling combinedthem with OkinawanKarate.

C O N T E NT S

? W H AT I S K A R A T E EXERCISES TECHNIOUES) K T H O N T SU K | A K E R | (B A S T C .
1. Junzuki Mawatte JodanUke-Forwardpunch;turninto upper ; blockLSR punch, turninto Gedan Barai-Reverse 2. Gyakuzuki ; Mawatte lowerblockl8R Maegeri-Middle bodyfrontkick 3. Chudan 4. SurikomiMaegeri-One stepfrontkick kick stamping 5. Sokuto Fumikomi-Footedge

2 4 -9

11-15 16-19 22-23 24 25-29

TECHNIOUES) R EN R A K UWA Z A (C OMB T N A T TON

lunge kick,upper 1. ChudanMaegeri Jodan Tobikomizuki-Front Punch Maegeri step 2. Surikomi Jodan Tobikomizuki-One frontkick lungepunch upper stepfront 3. Surikomi ChudanMaegeriChudanGyakuzuki-One punch kickand reverse punch kick reverse Chudan Gyakuzuki-Front 4. ChudanMaegeri

30a31 32e33 32A33 32A33

U KE ( BL OC K S )
1. 2. 3. 4.
punch 34-35 outerblockreverse Chudan SotoUke Gyakuzuki-Middle 36 Mawatte Chudan SotoUke Gyakuzuki punch innerblock, reverse 37 ChudanUchiUke Gyakuzuki-Middle 38 Mawatte Chudan Uchi UkeGvakuzuki

G L O S S A R YOF T E R MS
NOTE:
) X i n d i c a t e sd i r e ctio nto n e xt m o ve m e n t i t t d i " u t " t i n c o r r e ctte ch n iq u e

39

EXERC I SES

many specialmusclesare During the practigeof Karatetechniques, beforeKarate are broughtinto play.lt is vitalthat thesemuscles exercised can practlse begun.lf this is not done.someof thesemuscles be pulled is torn, resultingin a long enforcedlayoff from Karate or the ligaments books.I will show you many in training. Therefore, eachof thesetraining lt and strengthening. is my wish for exercises muscleloosening different you startyour eachtime before that you makefull useof theseexercises training.

2. Keep the legs strcight and bring the head as closeto the kneesas possible.

T hesee xe rcis es e t o s t r et c hth e m u s c l e s ar of t he b a ck and legs and a l s o to m a k e t hem stro n g er T hey s houlda l l b e re p e a te d . about 1 0 ti m eseac h.

4. Bring the head as close to the floor as you can.

3. Open the legs as wide as possible

5. Keep the tegs straight and press the head alternativelyto the left and to the right knees.

6. The leg on the pressing side must be kept straight. This exercise is done to the left and to the right.

7. The solesof the feet are pressedtogethet and pulled in to the body as close as possible.

down to touch the floor with you seat. 8. Press

9. Keep the back and the leg straight and keep the instep down with toes back, the same as Maegeri,

It is most important theseexercises in to bringthe headdown to the kneewithout bending leg. the

| | A | 3. lt will help you to pull youl head down to yout knee if you hold your partner's iacket.

| 2. This exercisewith the foot in " Footedge" is to help the kick shown on page 25.

HO W T O PR AC T ISE C OR R E C T P U N C H IN K IB A D A C H I S T A NCE . th-e Junzuki punch, T he begi n n e ru s u a l l yf i n d s i t v e ry d i ff i cul t to practi se better to punch from K iba dachi, SeeFig. | 6 to Fig' 2l ' so f irstlt is l P lac eth e fi s ts a s s h o w n i n F i g .1 o a nd punch al ternatel y eft and ri ght, c o rre c tmo v e m e n t.Wh e n you have becomefami l i arw i th the wit h a s lo w , c or r ec tm o v e m e n t,th e p u n c h c a n b e speededup. s Not e 1. K e e pth e s h o u l d e rs q u a reto the front. Not e 2. Mo v e b o th h a n d sw i th th e s a m epow er' Not e 3. T w i s t th e f i s t a t th e e n d o f th e pu nch. sti Not e 4. Ke e pth e l e g sa n d fe e t p e rfe c tl y l l al l the ti me.
l4

ffir

15

(14). Thisis the Kiba dachi stance:the distanceapart of the feet should be the length of the lower leg plus the width of one fist, seeFig. 14; both feet point inwards slightly; knees bent and pressedoutwards; the uppel paft of the thigh pressedinward; the back kept straight' 16

t7

18

HOW TO FORMTHE FIST 22 23

E RR ATUM Pag e 8 An v refe renc e t o SHI KO DACHI sh ou ld re ad KI BA DACHI '

\"

An illustration frcm "BUBlSHl'. an ancient Chinese book on the aft of self-defence.

10

K IH O N.TSUKI & KERI(Bas ic Tec hniques )

Kihon(Basic contains the all Technique) fundamentals Karate, the surface, of On Kihonseems be the repetition simple to of movements, and after practisingKarate for a while the student inclined look is to ri'rore down on Kihon,wishingto practise Wherethis happens involvedtechniques. doesnot makemuchprogress. the student From the techniquepoint of view, Kihon how how to relaxthe shoulders, teaches to concentrate powerin the punchand the the kick,how to twist the hips,how to tu rn the fist at the end of the punch,and how to keepgood balance. andconOn the mental plane,patience centration learned. are in It is impossible makeany progress to Karate without a thoroughunderstanding of all the elementscontainedin Kihon. This is proved by the numberof people toes,f ingers, wrists who arehurt- broken are and .hands commonin this country in due to lackof sufficient training Kihon.

jj
(27) All Karate movements staft from this position; heels together and hands to the sides.

't1

JU N ZU KI ( Fo r w ar d Pu n ch )
1. KIOTSUKE or attention. (S eeF is.27 .) 2 . Y Olor rea dy. this com On mand moveth e left fo ot ha lfway to t he left a nd the right foot halfwayto the right.(The b ig toes sh ou ld be sho uld er widt h apart.) This stan ce is c alled S HIZENTAI(se e Figs . 28 A 28a) . 3. HIDARI GAMAE. Move t he lef t legfo rwardan d p un c h t o t he S ola r Plexuswith th e l ef t f ist, p ullin g the rig ht fis t q uicklyto th e righ t h ip, fro nt foot straightand back foot at a 45' angle. The "two fist" width must be main tain ed between feet (seediag.1 ). the The part of the leg from the knee downwards must be kept vertical.The back leg is (SeeFig s.2 9& 29 a) . s traight, 4. JUNZUKI. Step forward a nd punch with th e righ t fist , twisting it at the end of the puncn (see Figs.30, 30a, 31 a nd 31a). Note l. When stepping forward it is betterif the foot has a slightinwardcurve. Note 2. After the punch the stanceshould be exactlythe sameas beforebut in reverse. Note 3. Concentrate more p ow er in p ullin gthe fist ba c k t o the hip tha n in th e fist th at i s punchin g. Note 4. The shoulders should b e relaxed llthetime . a Note 5. Keepthe elbow in to t h e side a nd th e fo rea r m p a rallelo th e g rou nd . t Not e 6. Be gin ne rs u su ally punch too early, before the f oot which is mo vin g has t ouched th e g rou nd , so, a lt houghit is corre ct p un c h to at the same time as the foot goes down, beginners can let the foot touch the floor trrsr. beforethey punch. 12

29. at a point which is ,Punch tevet wttn youl Solar Plexus and in the centte.

X
(1) Stance too short. Body leaning forward. Punching fist sloping backwards. (2) Eody leaningbackwatds.

. )

29a. The centre of gravity should be midwav between the tegs.Keep the back straight.

diag, I

(3)a. Shouldercarc tense. b. Thepulled back fist is too high and the shoulder is raised. c. The feet are in line so the balance is very bad. d. The fist is not aimed at the Solar Plexus in the centrc,

3t a

13

M AWAT T E J O D AN U K E (T u rn i n to U p per Block)

33. Move the left foot ovet to the ilght, making sure the hips arc kept to the same height.

34. The leg position is the same as in Junzuki. The left hand should not be moved but the right hand must be moved back slightly.

EXPLANATION OF J O DA N UKE (Upper Block) Although it takes several photographs explainJodan to Uke, the technique, in fact, takes only one second to execute.

35. The left hand is brought up diagonally in front of the chest.

36. Take the hand diagonally across the face like a punch, keeping the elbow down.

37. At the end of the movement the fist is twisted, once again like a punch, knocking away the attacket'spunch.

X
(4). The arm is btought across body, instead of d iag on ally upwatds.

X
(4)a. The elbow is too high. (4)b. The block is too far to the outside, and the stanceshould be the same as JUNZUKI,

35a

G YA K U Z U KI (Re v e r s eP u n c h)

^\a "-rb

("
diag. 2

0
\

a+b

I ttr

38. Thepunch is aimed at the solar plexus and the centre of gravity is midway between the legs. Seealso Fig.38a.

39. Turn the foot outward on the ball of the foot and twist the hip to the left at the same time. See diag.3bb.

['
dia7. 3

(5)a. Body leaning forward. b. The fist is not aimed at the solar plexus. c. The stance is not wide enough, the ftont foot is pointing outwards causing the knee to point outwatds. d. Thehead should be up and looking forward, not down. 39a

When th e sta nceis ch an ged from Jun zu ki to Gya ku z uk i the comman d is "SONO BA DE I P PON TORU", whic h means move the front foot diagonally backwards into Gyakuzuki stance, turningthe f oot inward s an d pu nching with the opposite fist. This stanceis shown in Figs.38 & 38a. In this stance the front foot is turnedslightlyinwards and the knee presses inwards a little. 16

li
40. Bring the back foot in a semicircle diag.4. as ) '

1l
diao.4 -

41. The ftont foot should be turned inwards with the heel raised when it touches the ground but the hands do not move.

X
)
(6). The hiPs cannot be twisted because the back foot is not tumed in.

42. The front heel is lowered, the hips arc twisted, and the rcverce punch is made. The hand is pulled back a little strcnger than the punching hand but with the samespeed, and the back foot should be turned in slightly. See diag. 3cc.

\,
40a

MA W A T T E G ED A N B A R A I T u rn i n to Lower Block

f'
a+ b

0 \ U W'

(7)a. The right foot is not moved to the tight enough. b. The hips are not twisted enough. This stanceshouldbe the same as Junzuki.

diag. 5

18

44. f/love the back foot (as shown in Fig.43) to the position shown (see diag. 5bb). The hips arc not twisted but the hand is drawn back to the chest and twisted with the back of the hand downwards.

45. Turn round, twisting the hips strongly.

46. Complete the movement stopping the fist above the

V n

(10). The block is bo high.

X
(B). The blocking hand is not outsidethe body enough.

(9). The block is too far outside the body. ln this stance the balance r's easily br oke n and powet /s lost from the block. 45a - 46a, Bring the left hand down into a block against a kick to the middle part of the body. The right hand is not moved during the block. The left hand is twisted during the block until the back of the hand faces upwards (see diag.5cc).

444.

Keep the elbow in to the

body

%'

T H E K IC K

K ar at eis dif f e re n tfro m mo s t o th e rf i g h ti n g arts i n that one of i ts strongest f eat ur esis t h e k i c k . l f y o u h a v e s tro n g k i cki ng techni quesyour standard of K ar at e l ri s ev e ry q u i c k l y ,b u t to o m u c h rel i ance ki cks can be bad. wil on Com binat io nte c h n i q u e so f b o th th e k i c k and the punch must be usedby us ing pu n c h e s a n d k i c k s i n c o mb i n ati on the ki ck i s made ntore ef f ec t iv e.M a n y s tu d e n tsd o n o t u s e c o m bi nati onsenough but rel y too m uc h on pu n c h i n g o r k i c k i n g a l o n e . T h ey al so repeat the same techniquest oo m a n y ti m e s , m a k i n g i t v e ry e a sy for thei r opponent to real i se what t hey w i l l d o n e x t. B alanc eis v e ry i mp o rta n tb e c a u s eo n l y one l eg i s on the ground duri ng the kick. After the kick you must have perfect balance or you cannot bloc k or at t a c ka g a i n .

3 . CH U D AN M A E GE R I ( M idd l e b o d yf r o n t ki cks)
Do not ki c k w i t h t h e l e g o n ly.

B ef oret his kick, instruct or will c all: 1. Y OI 2. H I DARI HANMI GAM AE (S ee Fig.47 )

47. Keep the elbow down and not outside the bodv.

48. C h ange the g ua rd q uickly

Strike the target with the ball ot the foot, keeping the toes back and the instep down.

(11)a. The hips arc too high, making a bad balance. b. The guard is too wide making it impbssible to punch correctly aftet the kick.

22

(12)a. Shouldets too tense. b. The toes are sttaight which makesthem very easily damaged.

(1 3)a. Thebody is leaning backwards (if pushed he will easily fall over). b. The instep is raised, making it impossible to kick forward with the ball of the foot.

49a. a. Keep the instep down and the toes back. b. Bend the supporting leg. c. Relax the shoulders and keep the back straight.

50a. After the kick, snap the foot back quickly from the knee.

Sla. After the kick, be prepared to move into anothel technique quickly.

SURI KO M I M A E GE R I

53. Move the back foot forwards with the toes turned out, lowering the hips at the same time. The whole bodv should move forward.

54. The kick is the same as Maegeri.

S UR I K OMI MAEGERI (One step forward and front k i c k. ) N o t e. D o n ot cha ng e th e g uaro.

S OK U T O (F o o te dgeKicks)

I t is v er y im p o rta n ti n th e So k u to k i c k to use the si de of the heel to stri ke the target. lf you strike with the edge of the foot near the toes, the kick will be v er y w e a k a n d y o u w i l l d a ma g ey o ur toes. l f thi s ki ck i s del i vered it there i s no dangerof hurti ngthe c or r ec t ly , i s th e b e s t k i c k o f a l l b e c a u s e t oes and t he h e e l i s a l o t s tro n g e rth a n th e instepi n Maw ashi geri(R oundhous e K ic k ). l f y o u c a n u s e So k u to e x p e rtl yi t i s betterthan other ki cks. W it h t he f r o n t k i c k a n d ro u n d -h o u s ek i c k i f you touch your opponent' s f is t or elbow w i th y o u r to e s o r i n s te p th e n you can hurt yoursel fbut the s ideof t he h e e li n So k u to i s v e ry s tro n ga n d w i l l not be hurt. I n m oder n Ka ra tec o n te s tsS o k u to to th e kneej oi nt i s a foul . S okuto to t he m iddle is v e ry d i ffi c u l tto c o n tro l ,i f y o u don' t stop and your opponent goes down t h e n y o u m a y b e d i s q u a l i fi e d. and i f you do stop, your stance is not v er y g o o d fo r a tta c k o r d e fe n c e ,s o becauseof thi s, many students you do not pr ac ti s eth i s k i c k e n o u g h . l f y o u b ecome expertw i th S ol < uto willf ind it a v e ry s tro n ga n d e ffe c ti v ek i c k .

SO K UT O F U M I KOMI
1. Y O I 2 . HID ARI HANMI GAMAE (Se eFig.47 )

55. The body should face the front. Bring the back foot f orward, lifting the knee.

56. Twist the hips and turn the foot.

X
(15). The back is not strcight.

(14)a. The hips arc not twisted enough. b. The f oot is not in coftect "footedge" position.

Y. The_ kicking part of the foot is the edge of the foot near to the heel. lf you do not pull the front of the foot inwards you will kick with the edge of the foot near the toes, which will make a weak kick and can cause damage to the toes.

26

57. Twist the hips as shown and keep the back straight. Strike with the edge of the foot neat the heel. At the moment of striking concentrateall yout power in the foot edge. Strike sharply. Keep looking forwards.

58. lmmediately after the kick, relax and the foot will snap back.

) '

59. Finish with the kicking leg to the front.

(16)a. The body is leaning down too much. b. The eyes should be looking f orwards.

27

A pplication of S OK UT O F UMI K O MI (Footedge S tampin g K ic k )

60. When the attacker punches. the defender kicks with Sokuto Fumikomi. Kicking the front foot is very effective because most of the attacket's weight witl be on this leg and he will fall down.

28

61. When you kick, if you grip the attacket's sleeve at the same time, his b alance will be broken.

62, Jump upwards and put your left leg in f r ont of his stomach and your right leg behind his thigh in a scrssors movement.

63. Twist the body to the left, pressing down with the left leg and upwards with the right.

64. Keep hold of the sleeve all thtough the technique. Strike the face with the right hand.

bt a

62a. lf your body is not close enough to yout opponent it is impossible to thtow him.

29

Techniques) RAKUWAZA (Combination REN

It is very important are that thesetechniques donequicklyand precisely.

C HUD AN M A E G E R IJOD A N T OB IK OMIKUZI ( Mid d l e F r o n t K i ck, U p p e r L u n g eP u n ch)

68.After kicking, snap the foot back quickly and when punching' 69' twist the fist at the end of the punch Atso during the punch keep the elbow in.

70. After the punch, the fist must be pulled back quicklY as shown. SeeFig.70a.

. )

69a. At the end of the Punch the arm must be strcight with the elbow down. Also the back leg must be keqt straight with the bodY leaning forward slightly. At the same time the othet f ist must be Pulled back to the position shown' See alsoFig.69.

7oa

31

S URI K O M I M A E GE R IJOD A N T OB IK OMIZUKI ( O n e S t e p F r o n t K i ck, U p p e r L u n g eP u nch) ( see Fig. 75a) S URI K O M I C H U D A N MA E GE R IC H U DAN GYAKUZUKI ( ( O ne S t e p F r o n t K i ck, Mi d d l e R e ve rselPunch)see Fig. 75b)

This technique is the same as on page 24.

C HUD AN M A E GE R IC H U D A N GY A K UZUKI ( Fro n t Ki c k , M i d d l e R e ve rse u n ch ) P

. ) 78. Before the kick. twist the hips a little and change the guard. 79. During the kick, do not move the guatd.

75a. After the kick, punch to the f ace with the front fist. y'y'ote. page31, Figs.69I See 69a.

76. After the punch, the position is the same as at the beginning.

l
75b. After kicking, for the ) reversepunch, it is imponant' to place the front foot slightly wider than for Tobikomizuki. The hips must be twisted at the same time as the punch. Punch for the solar plexus. Note. The fist which is not punchingmust be in front of the che st sligh tly an d not pulle db ackto the h ip. 81. ,After the kick, place the foot slightly wider than for Tobikomizuki and as soon as the foot touches the ground, twist the hips and punch fol the solat plexus. Do not pull the other fist back to the hip hut leave it slightly acrcss the chest. 82. Pull the punching hand quickly back to the hip after the punch. lr'ote. Pulling the fist back quickly makes the punch stronger.

C HUDA N SO T O U K E GY A K U Z U I K ( Mid d l e O u t e r B l o ck, ReversePunch)

) '

84. During the step forward the right hand moves acrcss the body and the back of the hand twists upwards. Junzuki stance.

85. Move both the hands , t ) the same time.

UK E. B LO CKS
lf one's blocking techniques arenotgoodenoughtheniree fighting and contest become very dangerous. Therefore, before free fighting and contests are practisedit is important to have good blocking technioues. diag' 6

K
X
(17). The Block is not far enough outside the body and the fist is too low.

X
(18). The block is too high and too far outside the body.

ffi

34

86. Theilght hand twists and btocks with the thumb side of the v/tist (see diag. 6). This is a block against an attack to the solar plexus. At the same time, the other hand is Pulled quickly to the hiP. The fist of the blocking arm must be on the same level as the shoulders.

87. Whilst punching, the front foot must be pulled back into Gyakuzukistance.

88. Pull the left fist back and across the body and at the same time step forward. Note l. The left f ist does not twist as it movesback. Note 2. Do not movetheright fist. Note3. Junzukistance.

as 90. Blockthesame Fig.86.

91. Move the front foot back into Gyakuzuki stance.

M AWA T T E C H U DA N S OT O U K E GY A KUZUKI (turn in t o m i d d l e Ou te r B l o ck,R e ve rse unch) P

93. Move the right (back) foot over to the left (see diag. 7). Note l. The heel is raisedon the rightfoot. Note 2. Bring the right hand back acrossthe bodv and do not twist the hios. y'y'ote3. Lowerthehips. Note 4. Lookto the rear.

94. Twist the hips and move the ilght hand into Soto Uke at the sametime.Do not move the left hand.

{
95 Junzuki stance.

96. Punch Gyakuzuki and at the same time move into Gyakuzukistance.

p.
="

diag. 7

.*.

K CHUDA N U C H I U KE GY A K U Z U I ( Mid d le I n n e r B l o c k, R e ve rse u n ch ) P

98. At the same time as the step f orwad. the right hand is raised as shown. Junzuki stance.

99. As the right hand moves across the body the fist is twisted. Do not move the left hand.

{
700. With the little finger side of the wrist,block an attack to thesolarplexus. 101. Punch with Gyakuzuki, moving the f ront f oot into Gyakuzukistanceat the same ume.

X
(l 9)a. The block is too high. b. The block is not far enough across the bodY.

37

M AWAT T E C H U DA N U C H I U K E GY A KUZUKI P ( Tu rn in M i d d l e I nn e r B l o ck, R e ve rse unch)

The turn i s the same as page 36 and the bl ock and punch i s the same as page 37.

GL OS S A R YOF TERMS

BA R A I C HUD A N F U M I K OMI GEDAN GYAKUZUKI J O D AN JUNZUKI KE R I MAEGERI MAWATTE RENRAKU SO K U T O SOTO S URI K OM I T O BI K OMIZ U K I TSUKI UCHI UKE WAZA

sweep middle
stampkick lower punch reverse upper forward punch kick front kick t u rn combination foot edge outer one step lu n g ep u n c h punch in n e r block technique

39

KAR ATE NI SENTENASHI

The Japanese writing on the opposite page stands for 'Karate ni Sentenashi', a part of Karate basic and very essentiat training. lt means that the Karateka must nevet attack first-mentally or physically. To understand this fully, years of hard, correct Uaining are needed. As the Karateka grows in stature so also will grow his good manners and etiguette, both outwardly and, even more important, inwardly. lncluded in the concept of 'Karate ni Sentenashi'areintense,purposefulKarate training, and correct Dojo etiguette.

40

KARATE NI SENTENASHI

Professor Tatsuo Suzuki

TatsuoSuzukiwas born in Yokohama 1928 and became in Professor interested Karateat the age of 14. He was taughtby Professsor in Hironori Ohtsuka,highestKarateauthorityin Japan,founderof the Wadoryustyle of Karate,and recentlythe receiverof the Shiju Hooshumedalfor service to sport from the Government Japan,the only man in the historyof of Karate to be so honoured.ProfessorSuzuki is looked upon as his successor. Within six years of beginning study karate,Professor to Suzukiwas gradein his the awarded thirdDan,and in 1951was awarded thenhighest WadoryustyleKarate- 5th Dan - for hisoutstanding courageand ability. In addition his accomplishments Karate, in Professor to Suzukiis a 2nd (stickfighting) Dan in Tenshin KoryuBo-Jitsu and is a 1st Dan in Judo.He has also studied Zen doctrinewith the high priests,the late Genpo Yamamoto and SoyenNakagawa. ln 1965he was awarded7th Dan,the highestgradegivenby Zen Nippon (All Federation), is at present in KarateRenmei JapanKarate and engaged the establishment Karate organisations of throughoutEurope as the Renmei's chiefRepresentative abroad. Professor and Advisor the Suzukiis nowthe ChiefInstructor Technical of KarateFederation. UnitedKingdom KarateWadoryu(8th Kyu)is the first in a seriesof nine bookswhichtake the pupilstep by stepfrom a whiteto a blackbelt in Wadoryu(wayof peace school)Karate.

T Ltd.,D onc as ter el ;23714 G. W Askew& Son ( Pr inter s)