Club "NAHA" Karate-Do

Yoso No Kata #4

2012-02-01T11:23:00.001-08:00

Yoso No Kata #3

2012-01-31T11:50:00.001-08:00

Club “NAHA” Karate-Do History

2012-01-30T08:05:00.000-08:00

1700s
Matsu Higa trains under Zhang Xue Li
Matsu Higa trains in Fujian White Crane under Wanshu
Peichin Takahara trains under Matsu Higa
Tode Sakugawa trains in Tode under Peichin Takahara
Tode Sakugawa trains in Chuan Fa under Kusanku

1810
Bushi Matsumura begins training in Tode under Tode Sakugawa

1846
Itosu Anko begins training in Tode under Bushi Matsumura

1870s
Higaonna Kanryo begins training in the Chinese Martial Arts under Wan Shin Zan and Ryū Ryū Ko

1897
Toyama Kanken begins training in Tode under Cho Itarashiki
Toyama Kanken begins training in Shuri-Te under Itosu Anko

1907
Toyam Kanken begins training in Naha-Te under Higaonna Kanryo
Toyama Kanken becomes assistant Shihan under Itsou Anko

1924
Toyama Kanken moves to Taiwan
Toyama Kanken begins training in Taku Kenpo
Toyama Kanken begins training in Makaitan Kenpo under Rin Ken Do
Toyama Kanken begins training in Ruta-obai Kenpo under Rin Ken Do
Toyama Kanken begins training in Ubo Kenpo under Chin Bu Sei

1930
Toyama Kanken moves to Japan
Toyama Kanken establishes his first dojo and names it Shudokan

1949
Toyama Kanken is awarded the special title of Okinawa Bushi (Okinawan Warrior) by the Governor of Okinawa

1958
July, Nobuyoshi Murata introduces Karate to Mexico

1962
Angel Marques Lopez begins training in Judo at the Naples Karate-Judo Club
Angel Marques Lopez and Antonio Marques Lopez train in karate under Nobuyoshi Murata

1965
Angel Marques Lopez earns his black belt in Judo
Angel Marques Lopez and others travel to Japan and study Shudokan Karate

1966
August, Toyama Kanken recognizes both Angel Marques Lopez and Antonio Marques Lopez as black belts in Shuokan

1960s
Angel Romero Arriaga trains in Shudokan under Angel Marques Lopez

1970s
Renshi Javier begins training in Toyama Karate-Do and Shudokan Karate-Do under Angel Marques Lopez and Angel Romero Arriaga

1979
January, Dr. Joon Ho Suek begins teaching Wonhwa Do (Tong Il Mo Do)

1986
June, Shihan Ken Walsh begins training in Shudokan Karate with Renshi Javier Diaz (Founder of Club de Karate-Do “NAHA”) six days a week
December, Renshi Javier Diaz moves back to Mexico

1987
February, Shihan Ken begins training in Wonhwa-Do (Now known as Tong Il Moo Do) under Kensaku Takahashi

1989
January, Shihan Ken earns black belt in Wonhwa-Do
Shihan Ken also studied with Kyoshi Tommy May in Isshin Ryu
Shihan Ken also studied with Sifu Bonny Lim in Ngo Chu
Shihan Ken also studied with Ken Parker in Judo
Shihan Ken also studied with Dennis Campo in Tae Kwon Do
Shihan Ken also studied with Professor Vee in Vee Arnis Jujitsu
Shihan Ken develops Hensen Ryu and establishes a dojo in New Rochelle, New York. Shihan Ken names the dojo Club Naha in honor of his first instructor Renshi Javier Diaz

1992
Shihan Ken moves to Maine
March, Establishes a Club Naha dojo at the Waterville Boys and Girls Club
September, Renshi Craig Sargent begins training under Shihan Ken

1993
Renshi Craig begins training in Kick Boxing under Sensei Bob Hartley

1995
December, Renshi Craig earns black belt in Hensen Ryu

1999
Renshi Javier Diaz moves to Maine and teaches Shudokan Karate at Club Naha

2000
Renshi Craig begins training in Boxing under Mark Landry

2002
Renshi Javier Diaz moves back to Mexico
More Shudokan Karate is added to Hensen Ryu

2006
Shihan Ken makes Renshi Craig the head of Hensen Ryu

2007
June, Renshi Javier visits Maine and teaches Shudokan
Renshi Craig begins learning Shudokan under Sensei Javier Diaz Jr.

2008
Renshi Craig trains in Danzan Ryu Jujitsu under Sensei Rich Charlebois
Some Danzan Ryu Jujitsu is added to Hensen Ryu

2011
January, Renshi Javier visits Maine and teaches Shudokan
More Shudokan Karate is added to Hensen Ryu
June, Some Wonhwa Do Kata and One Step Sparring are subtracted from Hensen Ryu
Hensen Ryu is renamed Club “NAHA” Karate-Do
July, Renshi Javier visits Maine and teaches Shudokan

A Brief History of Shudokan Karate-Do

2012-01-29T14:13:00.000-08:00

A Brief History of Shudokan Karate-Do

With the advent of Gichin Funakoshi's introduction of Okinawan Karate to Japan in the early 1920's, the popularity of karate began to grow. Soon, other Okinawan masters began to travel to Japan to proliferate their arts. One such man was Kanken Toyama, whose Okinawan name was Kanken Oyadamari. A school teacher by profession, Toyama's chosen avocation was the instruction of karate. He started his karate training at the age of 9 with a master named Itarashiki. His major teacher was the famous Itosu Yasutsune, with whom Toyama studied for 18 years.

In 1907 Toyama became Itosu's assistant at Shuri dojo. Toyama became one of only two of Itosu's students to be granted the title of "Shihanchi", or protege, of Itosu's O kuge (innermost secrets).

Aside from learning Shorin-ryu from Itosu, Toyama studied and mastered their styles of karate from other notable masters of Naha-te and Tomari-te, which included weapons arts. A few of his other teachers were, Aragaki, Azato. Chibana, Higaonna, Oshiro, and Tana. Toyama's interest in martial arts was not limited to karate. He was considered an expert swordsman, as well. While on a six year assignment to teach elementary school in Japanese occupied Taiwan (1924-1930), he studied Chinese martial arts with masters Chen Fong Tai in Taipei and Lim Fun Fong in Taichung.

Given this diverse martial arts background, the Japanese government soon recognized Toyama's prowess, and awarded him the right to promote to any rank in any style of Okinawan karate. An official gave Toyama the title of master instructor. Toyama's first dojo was opened in Tokyo in 1930, and he quickly became famous for his Aka Ryoku (strong gripping methods of Itosu and Itarashiki).

The name of Toyama's school was Shudokan, which means "Institute for the cultivation of the way." Today, this term refers not only to his school, but also to his system. Shudokan karate is a composite system, encompassing Kobutjutsu (Ancient art, referring to the specialized weapons practice of Okinawan karate). There are also kata (formal exercises) that are unique to Shudokan karate. Shurite, sometimes known as Shorin-ryu, or Itosu-ha is a component of Shudokan karate. Its kata represent light, quick motions and a variety of power sources.

The Naha-te system's forms, sometimes known as Goju-ryu, Shorie-ryu, or Higashiona-ha, represent strong rooted motions with an emphasis on internal breathing. Power sources include both hard, and soft. The Tomari-te style is generally considered an extinct system except in a few composite systems such as Shudokan.

Tomari-te is characterized by the speed of the Shorin-ryu and the strength of the Naha-te, and also included its own soft type of power. Tomari-te included some tight yet sophisticated motions; and in appearance it is both graceful and noble.

The aspect of weapons in Shudokan adds to its versatility and practicality. Weapons have also affected the empty hand forms in that the motions tend to be larger, often drawing a number of intersecting circles, with different parts of the body moving on different planes at the same time.

Shudokan is characterized by large circular motions with an emphasis on covering. The practice of extension of the motions develops power and physique. Soft power is taught along with sophisticated applications. which included throws, blocks, and chokes. Because of the balance between hard and soft power, this system promotes good heath.

Shudokan, because of its physical character, has developed its own unique kata. One set of forms that were developed within the system is the Kyoku forms. There are seven kata in this group,. starting with the very basic techniques, and building into long complex form, in a set progression. Originally taught only at the Hombu Dojo (Headquarters School), even the most basic of these kata were reserved for members who held a third degree black belt or higher. These forms were developed to represent the fighting techniques of the system and were considered secret. Today, the basic Kyoku forms are taught only to brown belt student, and the longer more complex forms are still taught only to black belts.

Another unique set of forms created by Shudokan are; Sonshin, Kakashin, and Choshin. These forms are used to develop and concentrate the potential of an individual.

As an educator, Toyama believed his system should not stagnate. This intention was built into the system to allow for its continued growth of both the individual and style.

This account is edited information that has been provided by Shihan Walter Todd (the American Shudokan Association), and the East Asian Cultural Institute.

Yoso No Karate #1

2012-01-29T10:59:00.000-08:00

2010-07-12T03:06:00.001-07:00

Yoso no Kata #5

2010-07-09T04:07:00.001-07:00

Yoso No Kata #2

2010-07-09T03:01:00.001-07:00

Yoso No Kata #1

2010-07-08T03:54:00.000-07:00

Mawashi Geri

2010-06-30T13:08:00.000-07:00

Age Uke

2010-06-29T04:08:00.001-07:00

Yoso No Kata #4

2010-05-31T04:39:00.000-07:00

Yoso No Kata #3

2010-05-30T12:24:00.000-07:00

Yoso No Kata #2

2010-05-29T02:37:00.000-07:00

Yoso No Kata #1

2010-05-28T07:50:00.001-07:00

Kihon (Basics)

2010-05-25T03:25:00.001-07:00

Some Kata

2010-05-08T03:31:00.000-07:00

Some of these kata may have some slight differences from the Hensen Ryu version)
Yoso No Kata (Hensen Ryu Version performs cats stance and has longs front stances)

Yoso No Kata 2

Yoso No Kata 3

Yoso No Kata 4

Pinan Shodan (Hensen Ryu Version performs front stances instead of back stances)

Pinan Nidan

Kyoku Shodan

Kyoku Nidan

Jion

Kanku Dai

Empi

Unsu

Some Traditional Forms videos I thought you might like to watch

2010-04-27T03:44:00.000-07:00

WOW This Orange Belt is Impressive

2010-04-25T16:05:00.001-07:00

Zenkutsu Dachi

2010-04-21T03:41:00.001-07:00

Zenkutsu-dachi (Front-stance): If you go from a natural position (feet resting one shoulder width apart, both feet pointing forward) and take your left foot forward to roughly two shoulder width apart, your feet should be at the correct position for front stance. From here, bend this front leg, so if you had a tape measure you could have a straight line from your knee to your foot. Then straighten your rear leg. Your weight should be roughly 60:40 with 60% on the front leg. Your back should be straight and your buttocks should not stick out like a duck. This is a very basic description of a typical front stance. These measurements will not always work, these are simply just very general rules

Zenkutsu-dachi movement: During a step forward, your rear leg does not just move forward, but instead follows a zigzag path along the floor. There are several reasons for this, which will become clear when you train in your dojo.
Begin one zenkutsu-dachi, which is one shoulder width apart. Then push or pull the rear leg inward to meet the front leg. Then Push off what was your front leg to take the other foot forward. Therefore your foot moves inward then outward.
Always be sure to keep your back straight, and not to bend or lean

Point Sparring Drills and Match

2010-04-13T03:20:00.000-07:00

Club "NAHA" Renshi Craig Sargent First place kata 30-39 black belt

2010-04-11T08:40:00.000-07:00

WOW!

2010-04-08T10:49:00.001-07:00

Some Shudokan Karate-Do Kata

2010-01-26T03:15:00.001-08:00

Yoso No Kata Ichibon

Yoso No Kata Nibon

Yoso No Kata Sanbon

Yoso No Kata Yonbon

Hiji Ate Gohjo

Pinan Nidan

Kyoku Shodan

Kyoku Nidan

Kyoku Sandan

Kyoku Yondan

Kyoku Godan

Yoko Geri Video

2009-12-20T13:59:00.000-08:00

Yoso No Kata Ichibon

2009-12-17T17:11:00.000-08:00

Short Video on Karate-Do

2009-12-08T04:08:00.001-08:00

So Sang One Steps Series One

2009-11-29T17:25:00.001-08:00

So Sang One Steps Series One

#1
1. Step 45 degrees with right foot into a horse stance.
2. Left knife hand block and right punch to face

#2
1. Step 45 degrees with left foot into a horse stance.
2. Left pushing hand block
3. Right punch to stomach

#3
1. Step forward with right foot into a front stance.
2. Left knife hand block and right knife hand strike to neck

#4
1. Step forward with left foot into a back stance.
2. Left inner forearm block
3. Right punch to face

#5
1. Step forward with right foot into a horse stance facing the right.
2. Right outer forearm block
3. Right elbow strike to face

#6
1. Right side kick

#7
1. Step 45 degrees with left foot
2. Right turning kick to legs
3. Right turning kick to chest

#8
1. Step 45 degrees with right foot
2. Right front kick to chest

#9
1. Right bottom of foot kick to hand
2. Right side kick to stomach

Bassai Dai

2009-11-23T17:18:00.001-08:00

CLUB 道 NAHA Karate Dojo in Taxco de Alarcón, Mexico

2009-11-22T16:32:00.001-08:00

Mawashi geri

2009-11-17T03:46:00.000-08:00

Roundhouse Kick (Mawashi geri)
From Wikipedia, the free encyclopedia

A roundhouse kick (also known as a round kick or turning kick) is a kick in which the attacker swings his leg around in a semicircular motion, striking with the front of the leg or foot. This type of kick is utilized in many different martial arts and is popular in both non-contact and full-contact martial arts competitions. The kick has many variations based on stance, leg movement, striking surface, and the height of the kick.

Karate methods
Karate has many different methods of delivering their roundhouse kick (Mawashi geri). The original method involved bringing up the knee, and then swiftly turning the hip over and snapping the leg outwards from the knee to deliver a strike with the ball of the foot. The ball of the foot was believed to be more effective and less dangerous than other methods.
As the years have gone by, some Karate dojo also practice kicking roundhouse kick with the shin, another point of contact is with the instep (for safety).

There are now more and more karateka practicing the 'cutting roundhouse kick'; this is where the karateka will lift their attacking leg higher than the intended target, they will then execute the kick in a downward cutting movement. Practitioners consider it a very effective method against the thigh.

This was later supplemented in Masutatsu Oyama's Kyokushin karate with a similar technique, using the instep and using more rotation of the hip, as well as sinking the weight of the kicker into the target, to create more bludgeoning power. The target of this kick was primarily the neck. Oyama also taught roundhouse kicks to the thigh and ribs, using the shin as the point of contact.

(He is speaking in Japanese, however you can still watch how he throws the mawashi geri)

Yoko Geri (Side Kick)

2009-11-10T03:39:00.000-08:00

Side kick
"Side kick" redirects here. For other uses, see Sidekick (disambiguation).
In Japanese, yoko geri; in Korean, yeop chagi (옆 차기).

The Side Kick refers to a kick that is delivered sideways in relation to the body of the person kicking. There are two general ways in which a side kick can be delivered. The first involves chambering the kick by bending it and cocking it back (recoiling it, in other words) before you kick.[1] The second involves shooting the leg forward as you would in a front kick and then pivoting and turning so that you actually deliver a side kick.

In addition, there are two areas that are commonly used as impact points in sidekicks. The first is the heel of the foot and the other is the outer edge of the foot(this is sometimes called the side blade kick, "ashi-gatana" or "sokuto" in Japanese). The heel is more suited to hard targets such as the ribs, stomach, jaw, temple and chest. The side blade is more suited to the softer targets such as the knee and neck.

From Wikipedia, the free encyclopedia

I love this video

2009-10-25T12:17:00.000-07:00

GOT CLUB NAHA KARATE-DO?

2009-10-23T07:47:00.001-07:00

Next session of Club Naha Karate-Do begins TODAY, October 26th, 2009.

Yoso No Kata #1

2009-10-13T03:22:00.000-07:00

Zak of the Belfast Club Naha performing Yoso No Kata #1

Yoso No Kata #1

0. Ready Stance
1. Left Cat Stance, Left Inner Forearm Block
2. Right Front Stance, Right Middle Punch
3. Right Cat Stance, Right Inner Forearm Block
4. Left Front Stance, Left Middle Punch
5. Left Cat Stance, Left Inner Forearm Block
6. Right Front Stance, Right Middle Punch
7. Left Front Stance, Left Middle Punch
8. Right Front Stance, Right Middle Punch
9. Left Cat Stance, Left Inner Forearm Block
10. Right Front Stance, Right Middle Punch
11. Right Cat Stance, Right Inner Forearm Block
12. Left Front Stance, Left Middle Punch
13. Left Cat Stance, Left Inner Forearm Block
14. Right Front Stance, Right Middle Punch
15. Left Front Stance, Left Middle Punch
16. Right Front Stance, Right Middle Punch
17. Left Cat Stance, Left Inner Forearm Block
18. Right Front Stance, Right Middle Punch
19. Right Cat Stance, Right Inner Forearm Block
20. Left Front Stance, Left Middle Punch
21. Ready Stance

Luca Valdesi performing Jion

2009-10-10T02:26:00.000-07:00

Kata - Lucio Maurino

2009-10-08T03:35:00.000-07:00

Our ambitions can be achieved only if they are proportioned to the labour and time we dedicated to them. - Lucio Maurino

The term “Kata” means “form”, “archetype”, or what represents an ancient and fundamental model containing its own essential codes of structuring. The Kata, for his articulated and deep symbolisms accessible for different degrees of awareness and competence of the apprentice, contains the assembled of the time and history of Karate: probably, in the “forms”, the great Teachers assembled and condensed the combative experiences of their whole life and delivered it as packet of information to their first disciple that he handed down it, in turn, to his successors.

Unfortunately such ancient and universal knowledge is been handed down from Teacher to student not so much by scientific-methodological principles, but through the way of body, for which today different styles of codification exist cause, in the historical tradition, the Teacher, founder of a school, delivered his own experience in the spirit and forms because of some particularly meaningful Katas.

Definition of Kata on computer base according to the modern theory of the systems
“The Kata is an imaginary-encoded-simulated fight, conceived as a systemic structure, with more or less complex communicative motion dense of meanings, that founds its own intrinsic and expressive harmony on the space-time scannings of the executive rhythms in operation of pre-arranged combative finalities.”

The practice of the kata is founded on the execution of motor structures predestined on the base of dynamic stereotypes opportunely assembled. It deals with a composite exercise appraisable under the qualitative meaning profile that prioritily hocks the closed skills of the individual.

The primary quality that a kata performer has to communicate is to play a fight, even though simulated, against imaginary opponents and inside a predestined form, in which the spirit of the ZANSHIN, or rather the state of promptness and elevated charge of vigilance that has also to characterize the circumstances of apparent calm.

The showing of kata is in its maximum expression and optimal expression of its essence, or rather from the fact to globally and intensely be meaningful under the martial profile, revealing and mirroring the identity of the discipline that represents in optimal way.

The characteristics that qualify a kata are:
- postural codification;
- finalized codification of the technical gesture
(attacks and parades);
- codification of the rhythms (temporal scannings) based
on the meaning of the motor gesture;
- harmony of structure;
- dosed global complexity;
- versatility of technique and gesture (bilateralism, symmetry);
- equilibrium of motor engagement (not inflated acrobatic phases);
- technical and tactical high level;
- strategic intelligence of the layout (embusen).

In the kata the gestures are multiform and they must be concretized through a polyvalent motor dynamism, where the variety of the native gestures of the martial art and the acrobatic actions melt themselves together, creating a noble formal expression characterized by specific connotations.
Kata is globally considered meaningful when its structure sufficiently shine through a complex tactical warp and through a configuration that it is born from a strategic orientation finalized to the fight against more adversaries.

The Kata, that means "form", "technical sequence", concerns the analysis and the study of the techniques of Karate practiced without adversaries (empty practice) putting in prominence the technical precision, the power (considered as the product of the strength for the speed) which the techniques are performed with. It contains, besides properly visual elements, also more depth educational meanings.

The Kata represents an attacks and defenses set, codified in an pre-arranged order by great experts. This set is studied to understand better the essence of a style, and it is practiced to get a technical improvement as well as for the beauty of the gesture.
We can define it as the "choreography" of the attack and defense, or the ritual forms of the techniques and movements.
In the Katas are picked almost all the techniques of attack and block, besides the numerous existing moves in the Karate.

Performing the Kata, the athlete has to follow a
pre-arranged layout, meticulously respecting
specify executive parameters:
- Technique (precision of the encoded gesture);
- Power (considered as the product of the strength
for the speed);
- Kimè (ability of muscular contraction and
decontraction);
- Rhythm (which the imaginary and encoded fights are
performed with);
- Expressiveness (if it deals with individual Kata), that is
the ability to communicate
through the technical gestures the own personality
and creativeness;
- Synchronization (if it deals with teams Kata)
These parameters determine the undisputed technical performance superiority in comparison to another.

- Lucio Maurino
http://www.luciomaurino.com

Jion, Meikyo, Empi, Chinto (Gankaku)

2009-10-06T15:45:00.000-07:00

For the Black Belts: How to do a Flying Scissor Takedown

2009-09-29T17:43:00.000-07:00

Shiko Dachi(Horse Stance) and Zenkutsu Dachi (Front Stance)

2009-09-22T03:02:00.000-07:00

Horse Stance From Wikipedia, the free encyclopedia
Shiko-dachi (square stance, often called horse stance) Feet are wide and weight is central and low. The knees and buttocks should be of equal level. The back should be straight and the knees should be directly over the feet. The toes face out at about 45 degrees.

Front Stance From Wikipedia, the free encyclopedia

Front stance, sometimes also called forward leaning stance or forward stance, is a basic stance used in Japanese and Korean martial arts. Although the specifics of the stance vary by style, overall it is visually similar to a lunge, with the forward leg bent at the knee, and the rear leg straight, while the hips and shoulders remain squarely facing forward. The purpose of the stance is to teach musculo-skeletal alignment that adds as much mass of the earth to a strike as possible. The stance allows a great deal of power generation forward, but very little in any other direction.

In Japanese martial arts, the front stance (zenkutsu-dachi?) is primarily practiced in karate and its variants. Some variations included the version practiced by Shotokan, where students generally place their feet much wider, while Isshin-ryū students place their feet shoulder width, but with much shallower length. Other variations are also practiced.

CLUB 道 NAHA

2009-09-21T09:52:00.000-07:00

Kihon: Basics

2009-08-14T09:32:00.001-07:00

Age Uke: Rising Block

Ude Uchi Uke: Inner Forearm Block

Ude Soto Uke: Outer Forearm Block

Gedan Barai Uke: Down Block

Zuki: Punch

Mae Geri: Front Kick

Yoko Geri: Side Kick

US OPEN 2007 Karate

2009-08-08T16:36:00.000-07:00

A short history of okinawan karate

2009-08-01T09:22:00.000-07:00

Want to know what kata you should learn/perform for tournaments?

2009-07-24T02:31:00.000-07:00

White Belt -Yoso No Kata #1
White Belt II -Yoso No Kata #2, Yoso No Kata #3, Yoso No Kata #4, or Kyoku Shodan
White Belt III - Yoso No Kata #5
Yellow Belt -Wonhwa Eui Hyung, Sunghwa Eui Hyung, or Pinan Nidan
Orange Belt - Empi Iwa or Kyoku Nidan
Green Belt -Pinan Shodan, Pinan Sandan, or Pinan Yondan
Blue Belt -Pinan Godan, Kyoku Yondan, or Kyoku Godan
Purple Belt -Chang Jo Eui Hyung, Basai Dai or Jion
Brown Belt -Shimpa Tan, Kanku Dai,
Black Belt -Kanku Sho, Enpi, Chinte, or Unsu

Kyoku Kata

2009-07-23T03:17:00.000-07:00

Kyoku Shodan

Kyoku Shodan ... "... is your friend" from Dennis Browne on Vimeo.

Kyoku Nidan

Kyoku Nidan from Dennis Browne on Vimeo.

Kyoku Sandan

"Look at sun" open
2. Look left, back to LFF cat stance, L side block
3. Down, L low block (break knee)
4. Up, forward to RFF FS, R punch.
5. Turn 180 degrees, RFF cat stance, R side block
6. Down, R low block (break knee)
7. Up, forward to LFF FS, L punch.
8. Look left, turn 90 to LFF cat stance, side block, low block.
9. Step to RFF FS, R low block
10. Kick L, LFF FS, L low block
11. Kick R, RFF FS, R dbl shuto, L double shuto (w/ twist).
12. 270 degree turn, LFF cat stance, L side block
13. Down, L low block (break knee), Up, Punch R, punch L.
14. R "Pinan Kamai", L Hammer fist, L side kick.
15. Turn 90 degrees to LFF FS, Smash R fist to L hand.
16. Step out 45 degrees, horse stance, R dbl low shuto
17. Turn 135 degrees, RFF cat stance, R side block
18. Down, R low block (break knee), Up, Punch L, punch R
19. L "Pinan Kamai", R Hammer fist, R side kick.
20. Turn 90 degrees to RFF FS, Smash L fist to R hand.
21. Step out 45 degrees, horse stance, L dbl low shuto
22. Step back, turn 45 degrees to LFF cat stance, L side block, L cross block.
23. Crouch to low X block, up to LFF cat, dbl outer block.
24. Kick, punch
25. Cresant kick, punch, punch
26. Creasent kick, punch, punch
27. Turn 225 degrees, horse stance, low shuto, hi OH guard
28. Up to Itosu stance, hi ridge hand, hi OH guard
29. Step out 90 degrees, horse stance, low shuto, hi OH guard
30. Up to Itosu stance, hi ridge hand, hi OH guard.
31. Back to center
32. Bow out (bend back).

http://www.ryu.com/mascio/karate/kyokosan.html

Kyoku Yondan

Kyoku Yondan from Dennis Browne on Vimeo.

Kyoku Godan

Kyoku Godan from Dennis Browne on Vimeo.

CLUB 道 NAHA Basic Shudokan Fighting Techniques (FTs)

2009-07-20T17:53:00.000-07:00

1: Migi Gyaku Zuki, Migi Gyaku Zuki, Migi Gyaku Zuki
Right Reverse Punch, Right Reverse Punch, Right Reverse Punch

2: Migi Gyaku Zuki, Migi Gyaku Zuki, Migi Mawashi Geri
Right Reverse Punch, Right Reverse Punch, Right Roundhouse Kick

3: Migi Gyaku Zuki, Migi Gyaku Zuki, Migi Makisuki Geri
Right Reverse Punch, Right Reverse Punch, Right Crescent Kick

4: Migi Gyaku Zuki, Migi Gyaku Zuki, Hidari Mawashi Geri
Right Reverse Punch, Right Reverse Punch, Left Roundhouse Kick

5: Migi Gyaku Zuki, Migi Gyaku Zuki, Hidari Makisuki Geri
Right Reverse Punch, Right Reverse Punch, Left Crescent Kick

6: Migi Gyaku Zuki, Migi Gyaku Zuki, Migi Yoko Geri
Right Reverse Punch, Right Reverse Punch, Right Side Kick

7: Migi Gyaku Zuki, Migi Gyaku Zuki, Hidari Yoko Geri
Right Reverse Punch, Right Reverse Punch, Left Side Kick

8: Migi Gyaku Zuki, Migi Gyaku Zuki, Migi Mawashi Geri Gedan, Migi Mawashi Geri Jodan
Right Reverse Punch, Right Reverse Punch, Right Roundhouse Kick to Legs, Right Roundhouse Kick to Head

9: Migi Gyaku Zuki, Migi Gyaku Zuki, Hidari Mawashi Geri Gedan, Hidary Mawashi Geri Jodan
Right Reverse Punch, Right Reverse Punch, Left Roundhouse Kick to Legs, Left Roundhouse Kick to Head

10: Migi Gyaku Zuki, Migi Gyaku Zuki, Migi Tobi Makisuki Geri
Right Reverse Punch, Right Reverse Punch, Jumping Right Crescent Kick

This is what point sparring should look like.

2009-07-20T10:52:00.000-07:00

Some Interesting Videos that I found on YouTube

2009-07-16T16:53:00.000-07:00

Yoso No Kata #2

Yoso No Kata #3

Yoso No Kata #4

Pinan Nidan

Kyoku Shodan

Kyoku Godan

Yoso No Kata

2009-07-13T12:02:00.001-07:00

Yoso No Kata #1

0. Ready Stance
1. Left Cat Stance, Left Inner Forearm Block
2. Right Front Stance, Right Middle Punch
3. Right Cat Stance, Right Inner Forearm Block
4. Left Front Stance, Left Middle Punch
5. Left Cat Stance, Left Inner Forearm Block
6. Right Front Stance, Right Middle Punch
7. Left Front Stance, Left Middle Punch
8. Right Front Stance, Right Middle Punch
9. Left Cat Stance, Left Inner Forearm Block
10. Right Front Stance, Right Middle Punch
11. Right Cat Stance, Right Inner Forearm Block
12. Left Front Stance, Left Middle Punch
13. Left Cat Stance, Left Inner Forearm Block
14. Right Front Stance, Right Middle Punch
15. Left Front Stance, Left Middle Punch
16. Right Front Stance, Right Middle Punch
17. Left Cat Stance, Left Inner Forearm Block
18. Right Front Stance, Right Middle Punch
19. Right Cat Stance, Right Inner Forearm Block
20. Left Front Stance, Left Middle Punch
21. Ready Stance

Zak of the Belfast Club Naha performing Yoso No Kata #1

So Sang One Step Sparring

2009-07-13T03:45:00.001-07:00

Club "NAHA" 4th of July Parade

2009-07-05T11:16:00.000-07:00

Thank you to the Club Naha parents for these wonderful pictures

Another video

2009-07-01T03:13:00.000-07:00

Bunkai
From Wikipedia, the free encyclopedia

Bunkai (分解?), literally meaning "analysis" or "disassembly", is a term used in Japanese martial arts referring to the application of fighting techniques extracted from the moves of a "form" (kata).
Bunkai is usually performed with a partner or a group of partners which execute predefined attacks, and the student performing the kata responds with defenses, counterattacks, or other actions, based on a part of the kata. This allows the student in the middle to understand what the movements in kata are meant to accomplish. It may also illustrate how to improve technique by adjusting distances, time moves properly, and adapt a technique depending on the size of an opponent. Some kata have another layer of application that is taught using an Oyo Bunkai.[citation needed] Different practitioners will learn or discover alternative applications, but the bunkai, like the kata, varies based on the style and the teacher.
A single kata may be broken into anywhere from a few to a few dozen applications, and the same sequence of kata moves may sometimes be interpreted in different ways resulting in several bunkai. Some martial arts require students to perform bunkai for promotion.
Bunkai can be obvious or elusive depending on the technique in question, the moves preceding and following it, and the individual practitioner. There are usually many stages of depth of comprehension of bunkai only reached through the passage of time. The terms toridai and himitsu are used to refer to techniques not readily seen to the casual observer and hidden techniques within kata.[citation needed] For example, in Gōjū-ryū karate, two-man kata training is used to reinforce bunkai and correct technique.[citation needed] If techniques in the kata are not performed correctly they will not be effective in two man training.

How to Use Kamas

2009-06-30T17:02:00.001-07:00

Double Strikes with Kamas

Forward Spins with Kamas

Switch Ups with Kamas

Flipping with Kamas

Flip Combo with Kamas

Combo Moves with Kamas

Check out these videos

2009-06-30T15:42:00.000-07:00

Some videos of Kata and Bunkai Deomonstrations

2009-06-23T04:26:00.001-07:00

Bassai Dai

2009-06-12T03:22:00.000-07:00

Friday night eliminations at the Gator Nationals on May 15, 2009 in Daytona Beach, FL.

2009-06-06T17:45:00.000-07:00

These videos didn't embed correctly, just right click on the video and click show all and you should be able to see the entire screen.

Junior Weapons 9

Terri Jacoby, Weapons

Junior Forms 9

Junior Forms 8

Uke (block)

2009-06-06T03:06:00.000-07:00

Uke (Blocks) are defensive movements done with the arms and/or legs to prevent your opponent form striking you. Hensen Ryu blocks are intended to be done with a lot of power, so the opponent is unable to continue attacking with that limb. In essence a block is a strike against an opponents strike.

Jodan Age Uke
(Rising Block to Head)

Chudan Uchi Ude Uke
(Inside Forearm Block to Torso)

Gedan Barai Uke

(Down Block to Legs)

Application of Basic Technique

Pinan 平安

2009-06-02T15:50:00.000-07:00

The Pinan (平安) kata are the second series of kata that we teach here at Club Naha after the Yoso no Kata series. During the study of these kata, students are introduced to new techniques, and should focus on differentiating between stances and learning to generate power in techniques by applying their hips.

The Pinan kata originated in Okinawa and were formed by Anko Itosu from older kata such as Kusanku (Kanku Dai), Passai (Bassai Dai), and Gojushiho. Anko Itosu formed these kata to make Kusanku (Kanku Dai), Passai (Bassai Dai), and Gojushiho easier to learn.

The first character, 'pin', means flat and easy, while the second kanji, 'an', means easy or comfortable. Also called "peaceful mind" kata, the Pinan series are easy and comfortable fundamental kata.

The Pinan kata are practiced, with various modifications, in many styles of Japanese and Okinawan martial arts. When Gichin Funakoshi brought karate to Japan, he renamed the Pinan kata to Heian.

Pinan Shodan(The Beginning of this kata is performed a little different then our version)

Here is a similar version of our Pinan Sandan

Pinan Yondan and Pinan Godan: (slightly different then our versions)

Pinan Yondan

Pinan Godan

Sport Karate Tricks

2009-05-31T16:39:00.000-07:00

540 Kick Tutorial

Butterfly Kick Tutorial

Batido / L Kick Tutorial

HOW TO SWIPE w/ Scotty Nguyen

Steve Terada and Kim Do (This one’s for fun)

Mawashi Geri

2009-05-31T09:50:00.000-07:00

Mawashi geri From Wikipedia, the free encyclopedia

Mawashi-geri (回し蹴り) means "round kick", although it is also sometimes referred to as a roundhouse kick. It is a kick used in Japanese martial arts.

Technique
Mawashi-geri may be executed from a variety of stances, and there are several methods of proper execution. The portion of its execution that is always consistent is that the kick is executed inward and at an angle that is anywhere from parallel to the floor to 45 degrees upward. In general, it is a lateral kick that strikes with the foot. Ideally, the foot that is on the ground during the kick points directly away from the opponent, but 90 to 45 degrees away from the opponent may also be acceptable.

Variations
If mawashi-geri is being thrown with the lead leg, the lead leg comes straight up from the ground, moving into a position with the knee bent back and pointing at the desired target area on the opponent. Without stopping, the upper leg rotates inward to whatever angle the kick will be thrown at, and finally, the lower leg flicks out to strike the opponent, and then immediately back in.
If the kick is being thrown from the rear leg, another option is available. The rear leg lifts with the knee bent and pointing to the side, and the entire body rotates as the knee swings around to the front (picture swinging one's leg over to mount a bicycle). The rotation of the body and lateral movement of the leg add to the momentum of the lower leg, which moves in and out the same as above.
The final possible variation is in the foot, itself. One may either strike with the instep of the foot (with the ankle and toes extended), or with the ball of the foot (ankle and toes bent back). Alternately, one could forgo the use of the foot entirely, and strike with the shin instead (for example, at extremely close range).

Targets
Common targets for this kick include the head (especially in competition), as well as the knees and floating ribs. Kyokushinkai karate practitioners commonly use low mawashigeri attacks to strike the thigh of opponents whereas this move is less common in other styles.
There are many versions of roundhouse kick.
Martial arts have many different methods of delivering a roundhouse kick. The original method involved bringing up the knee, and then swiftly turning the hip over and snapping the leg outwards from the knee to deliver a strike with the ball of the foot.
As the years have gone by, some martial arts schools also practice kicking roundhouse kick with the shin, which has always been the preferred method of Muay Thai.
Another popular point of contact is with the instep, which, for safety reasons, is usually practiced when sparring in the martial arts school.
There are now more and more martial artists practicing the 'cutting roundhouse kick', this is where the practitioner will lift their attacking leg higher than the intended target, they will then execute the kick in a downward cutting movement. A very effective attack against the thigh.
A popular way of using mawashi geri in the Goju Ryu style of karate involves aiming a snapped round house to the opponent's groin.

Tanaka Masahiko - Mawashi-Geri

Shiko Dachi 四股立ち(Horse Stance) and Zenkutsu Dachi 前屈立ち(Front Stance)

2009-05-29T01:53:00.000-07:00

Horse Stance
Shiko-dachi (四股立, square stance, often called horse stance) Feet are wide and weight is central and low. The knees and buttocks should be of equal level. The back should be straight and the knees should be directly over the feet. The toes face out at about 45 degrees.

Front Stance From Wikipedia, the free encyclopedia

In Japanese martial arts, the front stance (前屈立ち ,zenkutsu-dachi?) is primarily practiced in karate and its variants. Some variations included the version practiced by Shotokan, where students generally place their feet much wider, while Isshin-ryū students place their feet shoulder width, but with much shallower length. Other variations are also practiced.

Here is a cool article that I found about Kata training.

2009-05-28T11:31:00.000-07:00

Tips for learning a kata

A kata is an integral part of learning any martial art - check out these tips to help you master these forms quicker and easier!
Sponsored Links

You're hot, sweaty and tired from trying over and over again to perfect this particular kata. You know all the moves but it's just not coming together for you. But what can you do? Read on for a few tips to help you bring it all together for a perfect performance!

First, let's go back to the basics. A kata is a pattern of specific defensive and attack positions usually found in martial arts, such as judo and karate. Performed either solo or in pairs, it is used to help the artist perfect his/her form and to demonstrate their knowledge of the art. A kata can be done using swords, staffs or nothing at all and is an integral part of learning any martial art. But they're not easy – an average kata can be anywhere from twenty to seventy moves long, each one flowing into the other and depicting a specific attack or counterattack vital to the technique being studied.

Katas are also used to grade students, with black belts sometimes having to perform every single kata ever learned to illustrate their mastery before being promoted. A single misplaced foot or a loss of balance can make the difference between a good kata and a great kata!

But the kata isn't only to help you perfect the physical motions. It also encourages the artist to look inside beyond the simple moves into an almost meditative state. Indeed, many martial artists perform katas not to improve themselves so much physically as to increase their inner awareness of their own person and how to improve their skill with a purity of mind and body.

With this in mind, let's go back to helping you learn your kata. First, don't look at the entire kata as a huge sandwich you need to eat all in a single bite. Break it down into individual movements. After all, a kata is nothing more than connecting all of these forms into a single group.

Look at each movement and the reason behind it. Is it a defensive reaction? A form of attack? How does it flow into the next one or the one before it? When you see the overall ebb and flow of a kata it's easier to remember the movements as you would a popular dance step or top song lyrics.

Group them into smaller sections of three to five movements and practice them over and over in these sets. Memorizing fifty moves may seem impossible, but doing three or four moves at a time will be much easier. Then mentally when you complete one set you can begin the next three or four after it. Start at the beginning and make sure that first group is as perfect as you can make it before moving on to the next group and the next. You'd be surprised at how much you can remember when you're taking bite-sized portions instead of trying to jam the entire sandwich into your mouth!

Perform in front of a mirror to help you see possible flaws in your movement if no one is available to help you. Check the angles of your feet, arms and back to make sure that you're in the right position to move to the next form. If it feels wrong, it probably is – remember that these katas have been around for decades and have been performed by millions of artists, so if your foot is twisting unnaturally from one side to the other it's likely that you're the one at fault, not the kata. Even the smallest adjustment can make a world of difference and allow a more even flow from section to section.

Maintain a calm, rhythmic breathing at all times. Huffing and puffing won't get you through the forms any faster, and will only hinder you in the long run. Take your time, perfect each movement and take a deep breath when needed. You don't get points for racing through a kata, even if you've seen it done faster. Remember that those black belts dancing their way around the floor with swords or a staff in hand once were just where you are – learning the basics and going at a slow pace to perfect their form and movement. Speed may be flashy, but in the long run you will be judged on how accurately you follow the kata, not how quickly you twirl the swords or how loud your yell is.

Learning a kata can be a rewarding experience, allowing you to grow both mentally and physically. The next time you find yourself faced with a difficult kata take some of these tips and see if they can help you master these moves easier and assist you in moving to the next level in your chosen art!

Written by Sheryl Nantus

http://www.essortment.com/lifestyle/tipslearningka_spxm.htm

Sebastian Coquin Traditional Form at Quebec Open 2009 Kata Unsu

Gyaku-zuki (逆突き), Reverse Punch

2009-05-28T04:07:00.000-07:00

Yori ashi gyaku zuki by Kagawa sensei

Reverse Punch Drill by Hakim Walker

Warren Levi Karate - Reverse Punch Drill

Another Awesome Traditional Kata

2009-05-27T02:45:00.000-07:00

Jacob Ellis - 2007 Pan Am Grands Traditional Forms

Tong-Il Moo Do Form Competition Participants from NGIS Boy

2009-05-26T10:35:00.000-07:00

Do these kata look familiar?

Wow! Watch this kid's stances and his energy level is awesome

2009-05-23T17:35:00.000-07:00

Ryan Wells - traditional form

Kiai (気合)

2009-05-23T14:18:00.000-07:00

Kiai (気合) (pronounced key-eye) is a Japanese term used in martial arts. There are numerous examples of the battle cry in other cultures: kiai is perhaps primarily a development of this. In the representation of Asian martial arts in cinema and in animated cartoons, Kiai are often written as Hi-yah!, Aiyah!, or Hyah!. In the board game Go the term describes fighting spirit - see go terms for this use.

Use in martial arts
In martial arts, the term commonly refers to a short yell before or during a strike or technique. Korean martial arts may call this sound a Yatz or Kihap (기합). In bujutsu (Japanese arts of war), it is usually linked to an inner gathering of energy released in a single explosive focus of will. Students of martial arts such as aikido, karate, kendo, taekwondo or judo (or related arts such as taiko drumming) use kiai when executing a technique. It also refers to the shout that accompanies some techniques when performing kata. Kiaijutsu is the Japanese art of using kiai when performing martial arts.

The proper use of kiaijutsu involves concentrating on the use of one's ki more than it does shouting. A sound is just an audible indication of good kiai (aligned body structure, focused intent, and good breathing). Kiai can be a silent;[1] coordination of breath with activity. A relaxed and powerful exhalation can add power to movement. This may be more accurately referred to as kokyu power. Kokyu and kiai are sometimes used interchangeably. The term kokyu, most often translated as breath power in English, is essentially the same as Chinese nei jin. It is the ability to coordinate breathing with the execution of a jin movement which is important.

The noise from a kiai is said to arise from the hara or dantien: it involves the abdominal muscles and diaphragm and should not be sounded merely from the throat.[2]

As well as the above, the kiai can be used to:

prime oneself for combat, by "amping up."
protect the upper body from a strike by providing an escape route for exhaled air.
protect the lower body by rapidly contracting the transverse abdominals and other core muscles, shielding the internal organs.
provide solid abdominal support for striking techniques.
startle and demoralize actual or potential adversaries -- especially at close quarters, or if previously unobserved.

Etymology
Kiai appears to be a compound of ki (気) meaning mind, breath or spirit and ai(合, 合い), a stem of the verb awasu (合わす), "to unite"; therefore literally "concentrated or united spirit". However, Frederick John Lovret notes, "One should note that ai, the conjunctive stem of the verb au, does not mean "to join" in this case: when used in the second position of a compound word, ai becomes an emphatic marker. Kiai, therefore, should be translated as "spirit!", not "spirit-joined".[3].

Kiai and aiki

A classical aikido throw being practiced. Tori maintains balance and structure to throw uke, while uke safely takes a forward roll (mae ukemi).The two terms Kiai and aiki use the same kanji (transposed) and can be thought of as the inner and the outer aspect of the same principle.[4] Some martial arts schools use the term interchangeably. Otherwise Kiai relates to the manifestation, emission or projection of ones own energy (internal strength), while Aiki relates to the coordination of one's energy with the energy of an external source. Thus kiai is the expression or projection of our own, internal energy while aiki is coordination with an attacker's energy.

This usage of kiai as internal strength, or using one's ki[5] is often found in aiki arts such as aikijujutsu and aikido.[6] In some schools such as the Ki Society, 'keeping one point' (awareness or centredness in the dantian) is described as kiai.[7]

This girl has awesome spirit

Sensei Craig performing Jion

2009-05-22T04:15:00.000-07:00

This was many years ago.

Point Sparring Drills and Techniques

2009-05-21T12:10:00.000-07:00

PointFighter.com-Blitzing Drills-Alex Reyes

Sparring Drills at NKS

Step-in Backfist Drill by Ross Levine

Superman Blitz Drill by Mike Simmons

How To Sport Karate -- "Cross Step, Turn and Blitz"

Bo Basics and Tricks

2009-05-20T04:17:00.000-07:00

Rock Solid Bo Techniques - Level 1: Bo Basics Clip

Martial Art Bo Staff Techniques : Figure Eight Bo Staff Techniques

Lauren Kearney - Double Double Bo - Weapon

Intense Bo Training with Jennifer Espina

Extreme Bo Tricking with Nate Andrade

Young Black Belt

2009-05-19T10:45:00.000-07:00

Thought this was a really cool video of a young child doing a version of Pinan Godan.

Anyone know this person?

2009-05-18T11:12:00.001-07:00

Karate Kata

2009-05-17T09:56:00.000-07:00

Karate Kata:
Kata (型 or 形) (literally: "form") is a Japanese word describing detailed patterns of movements practiced either solo or in pairs. Karate Kata are executed as a specified series of approximately 4 to 40 moves, with stepping and turning, while attempting to maintain perfect form. The practitioner is counseled to visualize the enemy attacks and their responses. Karateka "read" a kata in order to explain the imagined events. There are perhaps 100 kata across the various forms of karate, each with many minor variations.

Teaching Kata:
Traditionally, kata are taught in stages. Previously learned kata are repeated to show better technique or power as a student acquires knowledge and experience. It is common for students testing to repeat every kata they have learned but at an improved level of quality. The student will perform one new kata and one or two previous ones, to demonstrate how much they have progressed.
The various styles of karate study different kata, or variations of a common core. Some kata may therefore be known by two names, one in Japanese, the other in Okinawan/Chinese. This is because Master Funakoshi renamed many kata to help Karate spread throughout Japan.

The Ten Points of Kata:
All Karateka should study the Ten Points of the Kata and consider these when practicing each Kata

YOI NO KISIN: The spirit of getting ready. Be prepared for your opponent in the Kata.

INYO: The active and the passive. Consider both the offensive and the defensive aspects of the Kata.

CHIKARA NO KYOJAKU: Use of strength. Balance your power in relation to the movements in the Kata.

WAZA NO KANKYU: Speed of movement. The speed of each movement in the Kata.

TAI NO SHINSHUKU: Expansion and contraction. The form of the body in the Kata.

KOKYU: Breathing. Understand breath and posture control in relation to the movements in the Kata.

TYAKUGAN: Targeting. Know the purpose of each movement in the Kata.

KIAI: Shouting. Demonstrate good martial spirit in the Kata.

KEITAI NO HOJI: Positioning. Movement and stance in the Kata.

ZANSHIN: Alertness. Retaining your guard (alertness) for the whole of the Kata, and beyond.

Bunkai:
Bunkai (分解), literally meaning "analysis" or "disassembly", is a term used in Japanese martial arts referring to the application of fighting techniques extracted from the moves of a "form" (kata).
Bunkai is usually performed with a partner or a group of partners which execute predefined attacks, and the student performing the kata responds with defenses, counterattacks, or other actions, based on a part of the kata. This allows the student in the middle to understand what the movements in kata are meant to accomplish. It may also illustrate how to improve technique by adjusting distances, time moves properly, and adapt a technique depending on the size of an opponent. Some kata have another layer of application that is taught using an Oyo Bunkai. Different practitioners will learn or discover alternative applications, but the bunkai, like the kata, varies based on the style and the teacher.
A single kata may be broken into anywhere from a few to a few dozen applications, and the same sequence of kata moves may sometimes be interpreted in different ways resulting in several bunkai. Some martial arts require students to perform bunkai for promotion.
Bunkai can be obvious or elusive depending on the technique in question, the moves preceding and following it, and the individual practitioner. There are usually many stages of depth of comprehension of bunkai only reached through the passage of time. The terms toridai and himitsu are used to refer to techniques not readily seen to the casual observer and hidden techniques within kata. For example, in Gōjū-ryū karate, two-man kata training is used to reinforce bunkai and correct technique. If techniques in the kata are not performed correctly they will not be effective in two man training.

Traditional Kata

2009-05-16T12:38:00.000-07:00

Watch These awesome Traditional Kata

Watch the third kid in the last video

Karate Sweep and Oi Zuki

2009-05-15T04:01:00.001-07:00

Here is a great video about leg sweeps in karate.

Here is a kid using Oi Zuki in a Tournament.

Ocean State Grand Nationals 2009

2009-05-12T17:49:00.000-07:00

Some videos of Ocean State Grand Nationals 2009

Bunkai for Tournaments

2009-05-12T16:42:00.000-07:00

I was thinking about adding something like this to the 2009 Elm City Karate Challenge.

Shudokan Karate 修道館

2009-05-10T18:34:00.000-07:00

Shudokan (修道館), literally the hall for the study of the [karate] way, is a school of karate developed by Kanken Toyama (1888 – 1966). Feature characteristics of Shudokan karate include large circular motions with an emphasis on covering and its own unique kata.

Toyama's karate training began at the age of nine in 1897 with Itarashiki, although he studied with Yasutsune Itosu for 18 years, until the latter's death in 1915. In 1907 Toyama was appointed shihandai (assistant master) to Itosu at the Okinawa Teacher's College, and he and Gichin Funakoshi, who later developed Shotokan karate, were the only two students to be granted the title of shihanshi (protégé). Even today, many do not know that Kanken Toyama out ranked Gichin Funakoshi with the rank of "Assistant Master" or "shihandai".

In 1924 Toyama moved his family to Taiwan where he taught in an elementary school and studied Chinese Ch'uan Fa, which included Taku, Makaitan, Rutaobai, and Ubo. In early 1930 he returned to Japan and on March 20, 1930, he opened his first dojo in Tokyo. He named his dojo Shu Do Kan meaning the hall for the study of the karate way. Toyama taught what he had learnt from Itosu and the Ch'uan Fa and did not claim to have originated a new style of karate.

In 1946, Toyama founded the All Japan Karate-Do Federation (AJKF) with the intention of unifying the various forms of karate of Japan and Okinawa under one governing organization.
As Toyama did not view the Shu Do Kan as a distinct style of karate, but merely a place for training, he did not appoint a successor. Thus, the organization he founded fragmented after his death in 1966, although his student Toshi Hanaue maintained the original Shu Do Kan. A few other schools based on Toyama's teachings still exist such as Doshinkan. Today, a minimal overseeing of the Toyama lineage Karate is done by Kanken Toyama's son, Ha Toyama.

Shudokan karate today is essentially a compound system, including Kobudo (i.e. ancient art, referring to the specialized weapons practice of traditional Okinawan karate) and Shorin-Ryu (also known as Shurite or Itosu-ha). Many other principles from other styles have found their way into Shudokan as it was Toyama's wish that Shudokan not stagnate, that it should grow in efficiency and flourish.

Shudokan teaches a series of unique kata that represent light, quick motions and a variety of power sources. These kata are secret to shudokan practitioners and are not taught to outsiders. One must obtain the rank of Sankyu (brown-belt, three belts away black-belt) in most schools before they are permitted to learn these kata.