Kyokushinkai karate in Russia has gone through a 30-year path of difficult formation, struggle for survival and approval as a national public organization, for the inclusion of the Kyokushinkai style in the unified sports classification of the State Committee for Sports of the Russian Federation. Today, the Russian Kyokushin Federation (FKR) has the right to officially develop the Kyokushinkai style in the country and represent it abroad.
The FKR is a member of the International Karate Federation (IFK), one of the leading organizations in the world. This was made possible thanks to the dedicated efforts of Russian organizers, instructors and athletes, as well as a combination of sports training methods and traditional karate teaching.

An outstanding bearer of the tradition of Budo-karate is hanshi Steve Arneil - President and founder of IFK, 9 Dan, one of the first and best students of the founder of Kyokushinkai Masutatsu Oyama. Hanshi has a decisive influence on the modern Kyokushinkai school, provides instructor and methodological assistance, and generously gives his wealth of experience and knowledge.
Continuing the tradition of Budo-karate and Budo-sport, developing the Kyokushinkai school in Russia, we express our sincere and deep gratitude to hanshi Steve Arneil.

The systematization of the fundamental principles of traditional karate teaching methods undertaken in this manual is aimed at strengthening the school and developing the Kyokushinkai style. We hope that the outline program will help in the daily work of instructors and examiners who are primarily responsible for the full transmission of the traditional Kyokushinkai school - the concentration of martial arts, spiritual practice and the Way of self-knowledge.

Foreword
Transfer of the traditional school.

Care and respect for the treasures of the Far Eastern military and spiritual traditions, generalization of the experience of the masters, full transmission of the Kyokushinkai school and style are factors of paramount importance for the Kyokushinkai Federation of Russia.

FKR instructors and examiners are the main carriers of Budo Karate traditions. Their professional qualifications, experience, skill, spiritual maturity and personal interest are the key to maintaining the high standards of the FKR and IFK, the creative development of the Kyokushinkai school.

The purpose of the abstract program is to ascend to the fundamental principles of the Kyokushinkai school, traditional military training, to understand and systematize the key principles and methods of training, to determine the foundation, core and core of the training process. At the same time, it is also a professional development program for Russian instructors and examiners in the IFK system.

The transfer of the traditional school "from hand to hand" from masters to students is a living creative press. In the course of training, this manual can serve as a kind of map-plan of traditional Kyokushinkai training, a methodological aid for Budo karate mentors.

Introduction

Fundamentals of traditional karate.

1.Budo-karate and sports. Budo sport.

Budo-karate as a traditional oriental martial way. Sports as a brainchild of Western tradition and a product of the Western mentality. Traditional karate in non-traditional socio-cultural conditions. The modern development of Kyokushinkai as a martial art, spiritual practice and Budo sport.

2. Budo-karate is a "Zen type of wrestling" and a spiritual martial tradition.

Budo-karte in the family of martial arts of the East and "Zen types of wrestling". Budo-karate in the global context of the Unified Spiritual Military Tradition. Spiritual and initiatory hierarchy of military traditions ("profane", "neophyte", "dedicated warrior"). Professional and initiatory hierarchy of martial arts ("student", "apprentice", "master"). Master of martial arts as "dedicated warrior" and "master of life".

3. The unity of the military "craft", "art" and "Way" in traditional karate-do.

All-round basis of military craft. Karate as a combat complex for special purposes, a type of self-defense and a means of survival. Karate as a martial art, a means of personal development and a field of martial arts. Military Path of self-knowledge and "divine unity". Karate as a complex of active meditation, a specific (Taoist-Zen) form of yoga and sacred ritual in the Zen tradition of Budo and Bushido. External (exoteric) and internal (esoteric) content plans of traditional karate and spiritual military tradition.

4. The unity of "body", "technique" and "spirit" is the foundation of traditional karate training.

Tanden as a center of unity. Unification of the legs and torso ("bottom" and "middle" of the body) through the concentration of energy in the tanden and the "gathering" of the abdomen. The unity of the torso and arms ("middle" and "top" of the body) through the "gathering of shoulder knots". The unity of the limbs (supports and "weapons" of the body) through the "gathering" of three joints (legs - pelvis, knee, ankle; arms - shoulder, elbow, hand; fingers - corresponding interphalangeal joints).

5. The concept of "body - weapons" in traditional karate.

Aspect of military craft. The body as an arsenal of offensive and defensive weapons and as "armor". Training in karate as the manufacture of weapons ("forging and tempering the sword"), tempering the body as the manufacture of "armor". Aspect of martial art. An analogy with the art of drawing weapons, cutting hard objects (cf. tameshiwari) and swordsmanship in kendo. Aspect of the military way. The idea of ​​a "spiritual sword" or Zen "sword of justice".

6. Psychoenergetic aspect of unity in karate.

Mobilizing volitional intention. "Will to live" and "Will to win". "Awakening" and "presence" of the fighting spirit. Energy management in action. The outflow of psychic energy through movement, breathing (Ibuki), crying (Kiai) and looking. "Empty consciousness" and the state of combat "trance without affects".

7. Spiritual and meditative aspect of unity in karate.

The traditional system of karate training as an active-meditative complex, a school of self-regulation and spiritual practice. Traditional types of Zen and yogic meditation. Their concomitant and adapted use in karate. Special meditation practices and psychotechnics in the aspects of "craft", "art" and "Way".

8. Foundation, core and core of the traditional karate school at the present stage.

Kihon, kata and kumite are the "three pillars" of the traditional teaching system. Preparatory, intermediate, connecting and additional sections of training. Technical and style canons of Kyokushinkai and qualified standards of the International Karate Federation (IFK).

Section 1. Teaching technique in the form of KIHONA

1. Performing the basic canonized technique without a partner.

Kihon as a process of forming a "body-weapon", mastering the combat arsenal of karate and adjusting the "combat machine". Kihon as a result of the crystallization of the experience of the masters, the selection and stylistic canonization of the school's technique. Kihon as a fundamental method of traditional training - performing the "ideal" technique in "ideal" conditions.

2. Basic requirements for the implementation of the technique in the form of kihon.

a) Stable position and dynamic balance in all phases of movement.
b) Coordination of movement with breathing (passive phase - inhalation, active phase - exhalation).
c) The correct form of technique.
d) The real power of technology, due to the special distribution of the energy flow over the phases of movement:
- explosive start (message from the tanden) in a voltage-free starting position;
- maximum (almost instantaneous) acceleration;
- the shortest focused concentration of force on the target (followed by an almost instantaneous release of tension).

3. The main tasks in the formulation of high-quality equipment and training methods.

a) The study of classical stances, basic movements and turns.
b) Breath control during the execution of the technique.
c) Performing movements that are correct in form, with the intended trajectory and full amplitude.
d) Separation of the movement into phases (from 2 to 5), a phased reduction in the number of phases and the transition to a continuous performance - at a slow, moderate and fast pace with a gradual increase in concentration.
e) Consistent, controlled and dosed acceleration in each phase of movement (maximum in end point). The gradual approach of the start of acceleration to the starting position (up to an explosive start and lightning-fast completion).
e) Long-term retention of the final focused concentration (for example, starting with 5 or 3 counts) with a gradual reduction in the retention time (up to instantaneous focusing of the energy release).
g) Constant monitoring of the release of tension immediately after focused concentration.

4.Special tasks in achieving high quality technique and additional training methods.

a) To master the correct form of movement - perform it slowly and without concentration.
b) To achieve speed endurance (while maintaining form) - performing the technique with full amplitude and focusing concentration in series mode (for example, from 2-3 repetitions) and supersets (for example, from 1 to 5 and from 5 to 1 repetitions or other options ). It is advisable to emphasize the last blow in the series with Kiai.
c) To achieve strength endurance - long periods of rhythmic repetition of technique with maximum amplitude, speed and strength while actually maintaining form.

5. General rules for performing the technique in the form of a kihon.

a) The predominant way of performing punches and blocks with the arms in motion is in the “oh” position. The requirement for masters is to perform any technique in the "gyaku" position. In combinations, the technique can be performed in both positions.
b) The predominant way of kicking while moving is in the gyaku position. The need to perform kicks in the "oh" position in kihon is associated with backward (back) movements.
c) Strictly defined levels are provided for all types of equipment: jodan, chudan, gedan. The main landmarks, respectively: the level of the eyes, the solar plexus and the lower abdomen.
d) Focusing techniques on the central axis of movement prevails. It also achieves maximum acceleration in carrying strokes.
e) The main ones are direct forward movements with a sliding step with a change of stance. Preparing the foot of the front leg - turn on tyusok with the heel inward at an angle of 45 degrees. The active movement of the leg on chusoku ends with a distinct transfer center of gravity and fixation of the hips. The level of landing in the rack is maintained all the time. Less commonly used are movements with the movement of the leg in an arc (sanchin-dachi, as well as kiba-dachi 45 degrees when performing defenses).
f) Turns in all stances performed with a sliding preparatory step of the back or front foot are made only on chusoku. They end with a distinct energetic turn and fixation of the hips. The most common 180-degree turn in kihon in zenkutsu-dachi, kiba-dachi 45 degrees is traditionally (although it happens in a different way) with a spade of the back foot, and in sanchin-, kokutsu-, nekoashi-, and moroashi-dachi - with a front foot step. The level of landing in the rack is maintained all the time.
g) In most cases, the transition to a stance or turn slightly precedes the execution of punches and blocks with hands. Kicks always end with a transition to a stable position.
h) The same landing level for all racks is due to the natural lowering of the center of gravity. At the same time, the body maintains a straight position (tilt forward conditionally by 1 degree), and the legs are loaded in order to actively move the body in movements and turns.
i) In all techniques, it is necessary to maintain correctly formed and assembled striking positions.

6.Key principles for the implementation of certain types, varieties and groups of equipment.

a) When performing strikes and blocks with hands that require a swing and preparation of a reverse arm, it is advisable to combine the initial phase of the movement with the preparation of the foot of the front leg in movements. The completion of the technique occurs simultaneously with the reverse and collection of the abdomen, as a rule, with the end of the rotation of the hips, if any.
b) When performing direct penetrating blows (such as "tsuki"), as well as a number of swinging blows (carrying tetsui mae yoko-uchi, fixed shuto jodan uchi-uchi and haishu-uchi), the hips maintain a frontal position. The shoulders in the final position are turned (following the reverse) at an angle of approximately 45 degrees on the backswing with the hips and shoulders straight.

C) When performing fixed secant and impulsive-return, "ricochet" strikes (such as "uchi"), as well as almost all elbow strikes (hiji-ate), the hips and shoulders are located frontally, and at the target point - at an angle of 45 degrees .
d) Blocks performed with two hands or reinforced by the imposition of an accompanying hand, in the final position are aligned with the frontal location of the hips and shoulders.
e) In circular blocks, it is important to have a continuous-accelerated movement of the hands in a circular along a circular trajectory. In shuto mawashi-uke (in kokutsu- and nekoashi-dachi), the hips and shoulders are constantly at an angle of 45 degrees.
f) In strikes and blocks with arms, the shoulders are always lowered. If it is necessary to straighten the leading arm, the elbow is fixed.
g) Characteristics performing punches:
- preparation of the supporting leg with a turn on the tyusok with the heel inward at an angle of 45 degrees;
- active take-out ("vskidka") of the hip at the right angle (in basic hiza- and mae-geri - at an angle of 45 degrees);
- the execution of the strike is accompanied by the necessary turn to the tyusoku of the supporting leg and balancing due to the proportionate inclination of the torso as a counterweight (the principle of "yoke").
h) When performing high kicks, the supporting leg, thanks to the pushing message, is unloaded.
When performing punching blows from top to bottom (mawashi-geri gedan, kansetsu- and kakato-geri), on the contrary, the supporting leg is loaded.
i) For most kicks that are performed with the return of the leg, the speed of the "out" and return of the shin is important.
j) Cross-cutting kicks are performed on the principle of a swing with acceleration to the target point on the central axis.
k) Jumping kicks, associated with pushing the body into the air, require a slight springy squat at the start. The main purpose of jumping is associated not so much with a change in height, but with an unexpected overcoming of a distance.
l) When straightening the leg in all kicks, the knee is fixed.

7. Basic didactic principles, methods and stages of teaching individual techniques.

a) Movement from the simple to the complex, from elements and phases to a holistic action, from the conditional to the real.
b) Technique on the spot is usually performed in classic equal support racks (fudo-dachi, sanchin-dachi, kiba-dachi). At the beginning slowly, in phases, without concentration, then slowly and continuously without concentration, then with a gradual increase in speed and concentration (up to the conditional-speed mode of multiple repetition).
c) Technique in movements is performed in classical stances, usually for three steps (always from the original left zenkutsu-dachi); forward with a turn of 180 degrees and back with a return (after the second turn) to its original position. The initial exit to the left zenkutsu-dachi with gedan-barai is performed with a step back of the right foot. Return to the original fudo-dachi with a reverse substep of the right foot forward.
d) Execution of the technique in moving forward and backward without turning (i.e. back) is usually also performed in three steps.
e) Technique performance in movements can be complicated by changing the scheme of movements and using different turns. So, for example, a scheme of 11 movements includes alternating steps and turns by 180 degrees, 5 movements along a square consist of alternating steps with turns by 90 degrees.
etc. Traditionally, the movement patterns of the simplest kata (kihon-kata 1 and 2, Taikyoku) are used.
f) Tasks can be made more difficult by combining techniques for each step while maintaining the stance.
g) Tasks can be made more difficult by changing stances for each step while maintaining the technique.
h) Tasks can be made more difficult by changing stances and combining different techniques.

I) Tasks can be complicated by performing self-defense combat combinations in classic stances. In this case, for the intended change in distance and maneuvers, forward movements, backward retreats, turns, shifts to the sides, etc. can be used.

8.Principles of building combat combinations.

a) Hits and blocks with hands in a minimum combination of 2 elements are combined according to the schemes: "hit + hit", "block + block", "block + hit", "hit + block". Combinations are performed alternately with both hands and with that hand.
b) Kicks and blocks with the legs in the minimum combination of two elements are combined and performed according to the same principles.
c) A combination of two techniques, performed by arms and legs, are built according to the schemes: "arm + leg", "leg + arm". In this case, various combinations of strikes and blocks in the same and opposite ratio are possible.
d) The use of 3 elements in combinations allows you to change the rhythm and mix the main accents.
e) In any combination performed in the form of kihon, a clear and complete
performance of related techniques.

9. General criteria for assessing the level of mastery of basic technology.

a) Preservation of form, speed and concentration, which determine the real power of technology. It should be sufficient to hit a live target and perform simple tameshiwari tests.
b) The ability to combine any techniques and stances within the program of the corresponding belt and to the full extent of previously mastered standards (in particular, when confirming the qualifications of the examinee).
c) Ability to use various schemes of movement and methods of turns.
d) Maintaining a good quality of technique in any task within program requirements.
e) Preservation of sufficient quality of technique when it is performed in intensive conditioning regimes.

10. Normative conditions and procedures for performing the technique in the form of kihon. Basic Japanese commands and dojo etiquette.

In IFK, for performing any technique with the hands in movements, certain commands and the corresponding procedure are provided.
On command "Fudo-dachi!" the initial position of waiting for fudo-dachi is taken.
According to the abbreviated command "Mae gedan-barai, yoy!" a transition is made from fudo-dachi to the position of yoi-dachi for 4 mental counts with Kiai at the end. In the initial phase, bent, sloping arms are turned with palms to the ears. When moving down, the arms straighten, clench into fists and stop parallel to the torso and hips.
At the command "Kamae-te!" a quick step back with the right foot to the left zenkutsu-dachi with the left seiken mae gedan-barai with kiai is performed.
From this standard position, any previously announced or immediately given technique is then performed in certain racks.
If the task is performed under the account, then it immediately follows: "iti, ni, san." Then, after the command "Mavate!" performs a 180 degree turn with Kiai. All actions are performed immediately after the count and the corresponding commands. The reverse "track" of movements ends with the same turn and return to the given left stance. At the command "Naore!" the return of the right leg to the left leg is made, followed by a step back to the original fudo-dachi and with the obligatory cover in the transitional phase with the forearms closed at the chest.

If it is necessary to repeat the cycle of movements from the right rack, the command "Khantai!" and the position of the legs changes at the same time. After that, the same commands are given and the corresponding tasks are performed.
If the task is completed without a score, then the command "Mogorei!" Is given, and then - "Hajime!". After that, the intended action is performed measuredly (at the pace of the Taikeku) and it is voiced to maintain the general rhythm on "Osu!", and the turns are performed with Kiai.
Almost the same procedure is used to perform kicks. After entering the left zenkutsu-dachi with gedan-barai, an additional command is given: "Keri no yoy, yoy!". Accordingly, in zenkutsu-dachi, the same slow movement of the hands is performed as when exiting fudo-dachi in yoi-dachi.
Tasks can be performed with or without counting. Simultaneously with the first kick, hands clenched into fists are raised to a protective position. On corners quickly, with Kiai, hands clenched into fists fall to the pre-launch position down.
For senior belts (especially during the exam), it is also provided to move forward 3 steps with the execution of the technique under the count, and back (after the turn) - without the count. For this, a task is given, which, after turning, is performed after the command "Mogorei, hajime!". The return to the original fudo-dachi is done after the command "Naore!".
Since the right leg is pulled back from the yoi dachi during the standard exit to the left zenkutsu dachi, when returning to the fudo dachi, it is pulled up to the left leg, in whichever classical stance the task is performed. If the cycle of movements ends in the left mae kiba-dachi, then first the left leg is moved to the side - zenkutsu-dachi is restored, and then a return to the original fudo-dachi is performed.
If necessary, all techniques can be performed with Kiai, then the command "Kiai-te!" is given. Further, the task can be performed under the account or without the account (after the appropriate commands).
When giving an incorrect or misunderstood command, when the students began to do the unforeseen, they should be stopped with the command "Yame!" and return to its original position with the command "Naore!".
When explaining unusual or difficult tasks, the instructor must be sure that he was understood correctly. To do this, he can ask a security question; "Wakata?", i.e. "Understandably?" (short for "Wakarimas ka ta?"). An affirmative answer is voiced by the students with the exclamation "Osu!". If the task is not understood, it is better for students to raise their hand and ask for clarification.
If students need to take a break, relax, straighten their clothes, etc., the command "Yasume!" (usually after returning to the original fudo-dachi).
If during the training it is necessary to seat students, then the command "Seiza!" Is given. The traditional meditation posture or (in the case of a long conversation) the "Turkish" sitting position is usually used. If meditation (zazen) is provided, then the command is given to close the eyes - "Mokuso!". After the meditation is over, the command "Mokuso yame!" is given.
At the end of the training, which ends with a traditional short session of zazen (after opening the eyes), the instructor announces a series of ritual bows in a sitting position, in which the students hit the floor in front of their knees with their fists. According to the hierarchy of the school, the command "Hansi ni rei!" is given first. (if hanshi is present in the hall), then, respectively, "Shihan, sensai, sempai and otagai ni rei!" Mutual bows are performed with simultaneous exclamations of "Osu!".
To get the group back on their feet, the command "Tate!" or in a polite form - "Tate kudesai!".
The final greeting expressing mutual gratitude to those present in the hall (or on the training ground) is performed after the command of the lead instructor: "Arigato gozaimashita!". The reflection is the repetition of gratitude, and then the exchange of salutatory exclamations of "Osu!" At the same time, the lead instructor and all black belts are standing, and the younger students are sitting.
It should be remembered that when entering the hall (dojo) and leaving the hall, each member of the school says the general greeting "Osu!" with a fudo-dachi bow. With the same exclamation, any appeal to the elder begins (according to the hierarchy adopted at the school).

Section 2. Methodological complex for teaching KATA.

1. Continuity with kihon in teaching kata.

Kihon is the basis and "building material" for kata. The commonality of the basic methods in the basis of technique and combinations, the achievement of the required quality of their implementation.

2. Basic requirements and criteria for the quality performance of kata. Tasks of gradual mastery of each "form".

a) Knowledge of the text of kata, canonized in the Kyokushinkai IFK school (including tempo and rhythm, freedom of breathing, Kiai, standard forms of the beginning and end of the complex).
b) The quality of technique, corresponding to the stylistic canons of the school.
c) Understanding the meaning of all technical elements and techniques of kata, knowledge of the main interpretations of their combat use and an idea of ​​the range of possibilities. From senior belts, an understanding of the psychophysiological mechanisms and the meditative nature of kata is required.
d) Real, performance of fighting spirit, performance of kata. A convincing ("artistic") expression of the power of Kyokushinkai karate, an energetic rise and an active meditative state of consciousness.

3. Kata-specific learning tasks and stages of their solution.

a) Creating a holistic view of the unique nature and purpose of each "shape".
b) Establishment of the correct rhythm in separate combinations on the basis of uniform established principles. Assimilation of the basic norms of proportional grouping of elements, expressed in arbitrary units of time (mental account):
- performing slow movements - for 4 counts;
- performing moderate movements - for 2 counts;
- performance of fast movements - for 1 count (usually for 1 step of movement or turn);
- grouping of 2 quick movements in one position - for 1 count (such as "block + blow", release from capture - block, 2 blows, etc.).
c) A meaningful grouping of combinations corresponding to the main completed phases of the battle with the main accents being highlighted in the techniques.
d) Establishing a general correct rhythm while observing the generally accepted pace of performance, i.e. B 1-2 sec. in relation to the boundaries of the IFK time standard. The speedy execution of the technique corresponds to the reality of the battle. Other rates are associated with special didactic tasks.

4. Basic methodical complex for high-quality development of kata.

a) Isolation of the most difficult elements of technique for their separate development in kihon (preparatory or accompanying).
b) Consistent mastering of short and longer combinations at a given (strictly defined) pace and rhythm to achieve the required quality of technique.
c) Using the method of building up the "chain" - technical elements, combinations and combinational groups - to securely fix the rhythmic text of the kata.
d) Rhythmized chanting (to "Osu") of all accentuated technical (fast) actions to form a correct sense of the tempo and rhythm of the kata, a sense of "fluid form".
Memorization of the tempo-rhythmic structure of the kata can be strengthened by reproducing the appropriate chants outside the execution of the text of the kata (without) movements in a given position, during push-ups or squats at a set pace and rhythm, etc.).

E) "Official" performance of kata intended for qualifying examinations and competitions. The kata is performed in complete silence (without sniffling or other sounds of breathing) with the performance of Kiai and Ibuki in the prescribed places and in compliance with the time limit. Achieving Moscow quality is the crown of systematic (long and painstaking) work on kata.

5. Additional methodological complex for solving special problems in the development of kata.

A) To achieve complete control of the form and purity of the technique - slow and smooth execution of it (cf. the soft style of Taijiquan) with the designation of points of moderately focused concentration.
b) To build strength with proper respiratory coordination while maintaining form - slow concentrated execution of kata with Ibuki. In this power mode, only the inhalation phases are quickly performed (for a step, the initial phases of a swing or cover, including on turns).
c) To increase speed and strength concentration - performance of kata with serial (or super serial) multiplication of individual techniques or short combinations. With their doubling, tripling, etc., the shape and amplitude of movements should be preserved.
d) To strengthen the focused concentration at the end of the technique - the performance of kata with extended Kiai (at slow, moderate and fast paces) and the appropriate retention of concentration on each element (from 5 to 2 mental counts).
e) For complete conscious control of the text, quality of technique, confident mastery of the entire "form" - performance of kata in a combined mode. Possible algorithm: slow and smooth, with moderate concentration - slow and strong with Ibuki - with fast repetitions of elements - fast and strong with Kiai - with real speed and concentration, but in silence. The scheme for alternating methods of performing techniques in kata can be set in advance or deployed arbitrarily according to commands during execution.
f) To cultivate a flexible, mobile consciousness and the ability to spontaneous ("explosive") and really powerful performance of each technique - performing kata as a series of "flash" of energy concentration (with Kiai) alternating with short meditative pauses (with closed eyes and in a reflex way tension). It is advisable to give commands (count) at an arbitrary interval, so that from a state of complete detachment, open your eyes, you can carry out spontaneous and instant mobilization.
This is an excellent "breathing gymnastics", one of the means of instantly awakening the "fighting spirit" and entering the state of combat "trance without affects", as well as a quick and natural return to the state of "peace and rest". Each hit and block in such training is thought and felt as "like the last one in life."
g) To test the stability in the qualitative development of the "form" and orientation in space, brought to inner feeling, "feelings of kata" - performing kata with closed eyes in the "official" version.
h) For testing special endurance and safety margin in stressful situations (competitions, exams, demonstration performances) - the practice of "kata-marathons". This may be the performance of one kata in a row several times in an "official" version, while maintaining the quality of technique and style (for example: Taikyoku - 10 times, Pinan - 5 times, Kanku - 3 times). The content of kata - marathons is determined by the mastered standards (for the exam) or competitive repertoire.

6. Special and complicated methods of studying and performing kata.

a) Selection of combinations similar in structure and technique from various kata of the mastered repertoire for separate study. Promotes memorization of the text, awareness of the commonality of different "forms", common principles for constructing techniques and the canon of the school.
b) "Concise" execution of a group of kata, for example, in a row only initial combinations from Taikyoku and Pinanov. This is a kind of reproduction in motion, an exposition of the main "ideas" of the kata, a "thematic table of contents" of the repertoire. By the same principle, you can combine the endings of a kata of a certain group.
c) The execution of the kata in the form of "cheers" contributes to a better memorization of the text, freedom in the use of turns through the back and prepares for the execution of "turntables".
d) Performing kata in the form of "gyaku", i.e. in a mirror-symmetrical version, it helps to overcome the well-known "one-sidedness" in the performance of certain techniques and combinations, helps to master the text of the kata well.
e) Execution of kata in "rakokhod", i.е. from end to end, requires increased control and excellent knowledge of the text of the kata ("along and across"). Contributes to the reliable mastery of the appropriate arsenal of techniques and techniques.
f) Performing the text of the kata in one place (i.e. without moving in a given position) allows you to work on kata in a limited space with increased self-control.
g) Mental training on the material of kata when solving various educational problems allows you to carry out internal, meditative work on kata, discipline the mind, develop memory and conceptual thinking; possible in any conditions that allow concentration.
h) "Work according to the canon" based on the simplest kata. For example, the use of the Taikyoku scheme for mastering new techniques, solving special methodological and instructive tasks.
i) "Canonical modeling" of new "forms". Creating your own kata to encrypt and transmit "ideas" related to the military "craft", "art" and "Way".
j) "Canonical improvisation" - spontaneous reproduction of fragments of famous kata and the creation of new compositions in the style of Kyokushinkai. Assumes a deep knowledge of the traditions of the school and a high level of skill.

7. Normative procedures and commands provided for the performance of kata.

The execution of the Kyokushinkai IFK kata is preceded by the exit to fudo - dachi after the appropriate command.
If a kata starts immediately from fudo-dachi (without transition to musubi-dachi) with an exit to the yoi-dachi position (Taikyoku and Pinan groups), then after the instructor announces the name of the kata and its distinct repetition by the students, the command "Yoi!" is given. When performing kata under the count, the corresponding movements follow after each count. If it is necessary to perform a kata without counting, the command "Mogorei, hajime!" On the last movement, a brief stop is made before the completion of the command "Naore!". After it, there is a return to the original fudo - dachi.
When completing Taikyoku, the left leg is first taken back to the chusoku for the width of the fudo - dati from the right leg. Only after that is the return to the frontal starting position covered by the forearms closed at the chest in the intermediate phase. At the end of the Pinan kata, the leg returning to the original fudo - dachi, at first still in a bent position, is pulled to the chusoku to the other (also bent) leg, and then moved to the side in fudo - dachi, exit to straight legs.
In kata Taikyoku and Pinan - sono - no return to the starting point occurs with a shift along the central axis slightly backward (about the width of the shoulders). In all other IFK Kyokushinkai kata, while observing the movement pattern and proportional stances, ideally, a completely accurate return to the starting point is provided (one of the signs of a good school).
If the kata begins and ends with a short meditation in musubi - dachi, the transition to this position is made on the command "Musoku!" slowly, for 4 mental counts and always with the setting of the right foot to the left foot.
First, on the 1st count, the musubi-dachi stance is taken and the hands are opened, which are slowly brought together on subsequent counts and, like “magnetized”, close at the bottom on the 4th count. At the same time, the eyes are closed. After a few seconds, the name of the kata is announced.
On command "Yoi!" a transition is made to the position of yoi - dati with Ibuki.
After the command "Hajime!" the declared kata is performed, which ends with an independent return to musubi - dachi, and the position of musubi - dachi is taken on the 1st count, and the open palms of the arms bent at the elbows close in the frontal plane above the level of the forehead. When slowly lowering the hands down past the face, the eyes close. After 2-3 seconds, at the command "Noare!" meditation in musubi - dachi stops.
At the same time, the eyes are opened and performed within the boundaries of the command "Hajime!" before the completion of the last technical action (Taikyoku, Pinai) or after the completion of the final transition in musubi - dachi.
8. Approximate timing for the performance of Kyokushinkai IFK kata.

Timing gives time references necessary for any "official" performance of the kata.
All Taikyoku are performed in 20-23 seconds, Pinan 1 and 3 in 22-24 seconds, Pinan 2.4 and 5 in 30-33 seconds.
Sanchin no kata is performed in 2 minutes. 14 sec. - 2 minutes. 16 sec. Sanchin with Kiai - in 19-20 seconds. Tensho - in 2 min. 19 sec. - 2 minutes. 23 sec.
Gekisai Dai is performed in 47-50 seconds, Gekisai Sho in 48-50 seconds. Kata Yantsu is performed in 1 minute. 02 sec. - 1 minute. 04 sec., Tsuki no kata - in 36-38 sec., Saiha - in 43-45 sec., Kanku Dai - in 1 min. 40 sec. - 1 minute. 45 sec., Scientine - in 1 min. 24 sec. - 1 minute. 26 sec., Sushiho - in 1 min. 15 sec. - 1 minute. 26 sec., Garyu - in 38-40 sec. and Seipai - in 46-48 seconds.

Section 3 Regulatory Combinations
(iponn and sambon - kumite, renraku, kihon - kata) and methods of their study.

1. Instructive goals and objectives in the development of normative combinations.

In ippon - kumite 1 and 2 (10 kyu) - acquaintance with the combat use of basic techniques (attack - defense - counterattack) in moving 1 step in a classic stance.
In sambo - kumite (9 kyu) - acquaintance with the use of military equipment in moving 3 steps. In the classic stance, a series of attacks, defenses and counterattacks are performed.
12 renraku is divided into 2 types:
- Renraku of the 1st type (9-5 and 2 kyu) - combinations typical for clicker tournaments. A feature of the combat stance: the hand in the “oh” position serves as a guard, the hand in the “gyaku” position is “charged” under the chest.
- Renraku of the 2nd type (1 kyu, 1 Dan) - combinations typical for knockdown tournaments. In the Kyokushinkai fighting stance, both hands protect the head and ribs.
Kihon - kata - complexes of techniques (10 kyu - 2 Dan), reproducing normative techniques in order in the program of each belt in motion. The basic form is performing on the spot in the right sanchin - dachi (for 10 kyu - in fudo - dachi).

2. Performance features and methods of studying ippon- and sambon-kumite.

Combinations are performed in the form of kihon and must meet all the quality requirements of real technique. All methods of work in kihon are suitable for mastering. Control exercises in pairs are advisable.

3. Performance features and methods of studying renraku.

Type 1 renraku is primarily characterized by high-speed impulsively returning long punches (gyaku-tsuki with hip engagement and full reverse) and whipping kicks (with quick outflow and return of the shin).
In the combat stance characteristic of the clicker, the following elements are common:
a) going into a fighting stance (from the position of yoi - dati) with a decrease in the center of gravity, a quick extension of the open arms forward and upward and a quick gathering of them in a defensive position;
b) turning in a combat stance (while maintaining the landing) from the back leg, block uchi - uke and a similar quick transfer of hands to a defensive position;
c) return to the starting position in fudo - always dachi backwards with standard forearm cover in the transition phase.
It is necessary to distinguish and separately train varieties of the basic gyaku-tsuki technique:
a) a penetrating fixed blow from the chest (in renraku 1,4 and 9);
b) Impulsive - return blow from the chest with the effect of "Ricochet" (in renraku 2,3,4-9).
For renraku of the 2nd type, penetrating fixed punches from the knockdown kamae - te - dachi are characteristic (without reverse under the chest).
In renraku 12 (gohon-renraku), not only high-speed return kicks are used, but also sweeping secant kicks. When entering the combat stance and on turns, a protective position with clenched fists is maintained. When performing a strike with a hand, it is necessary to shift the whole body to the tysoku of the corresponding leg and cover the face (head) with the second hand.
All renraku in the group can be sung with rhythmic chants of "Osu!" with Kiai on finishing technique and cornering. If necessary, any separate (accented) techniques can be voiced.
All mastered standard combinations (in full - from ippon-kumite 1 to renraku 12) can be performed in the "test - marathon" mode according to the principle of building up the "chain". Each "link" (a separate combination) is performed 3 times (except for sambon - kumite) in forward and backward movements from the left, then from the right stance. When building up the next "link", all previous "chain links" are reproduced.
It is also expedient to test the freedom of mastered combinations. The principle is to perform any combination and group them in an arbitrary order.

4. The execution procedure and methods for studying the IFK program standards based on kihon-kata.

The key to mastering and memorizing the entire volume of normative techniques (10 kyu - 2 Dan) is the basic complexes performed on the spot, in the right sanchin-dachi. The exit to the rack is performed after the transition from fudo - dachi to yoy - dati with morote uchi - uke slowly from Kiai to the 4th mental count.
At the command "Migi sanchin - give, yoy!" first, a standard transition from fudo - dati to yoi - dachi is performed, and on the command "Kamae - te!" - exit to the right sanchin - dati. Kihon - kata can be performed under the count or without it (on the command "Mogore, hajime!"). In the first case, the return to the original stance (right sanchin - dachi) occurs on the last count immediately after the final technique. In the second case - independently. In both cases, each technique can be performed on "Osu!", and the return to the right sanchin is dachi with kiai. At the command "Noaore!" - standard transition with the right foot back to the original fudo - dachi.
Derivative forms based on kihon-kata are due to typical tasks of teaching techniques, combined with the practical consolidation of program standards in the established order of alternating techniques.
With a standard movement of 3 steps forward and backward with turns, one technique from kihon - kata can be performed (repeated). In the abbreviated version, the technique changes after each turn. The same principle can be used when moving forward and backward without turning (i.e. backwards).
These ways of using the kihon-kata scheme can be combined with the alternation of classical stances, as well as using the Kyokushinkai fighting stance. In addition, the whole series of techniques can be performed for each step with only one hand (in the "oh" position) and one foot (in the "gyaku" position). Thus, the total volume of equipment increases during one cycle of movements.
Basic and derivative from kihon - kata forms and methods of performing normative techniques according to various patterns of movement can be carried out in the conditioned mode of "marathons", including the method of building up "chains". In addition to physical stamina, this requires extreme frailty and self-discipline.

Section 4. Kihon in a fighting stance.

1. Kihon in a fighting stance in the system of traditional training.

A single methodological basis for the study and implementation of karate techniques in a fighting stance. The specifics of work in a combat stance, reflecting the factor of variability in real combat conditions and the universal principles of adaptation to them. Kihon in a fighting stance is a step from classic kihon to kumite on the way to free combat, the technical foundation for martial arts and the art of self-defence.
2. Style features of kihon in the fighting stance of Kyokushinkai.
a) Perfectly balanced, compact and maneuverable starting fighting stance. The length of the stand is 3 feet, the feet are separated to the width of the shoulders, the toe of the front leg is directed forward, the back leg is at an angle of 45 A to the side.
b) Optimal security of the combat stance, the possibility of complete freedom of action in attack and counterattack. Arms bent in front protect the head and torso (covering the ribs).
c) Special composure and efficiency in the performance of strikes and blocks with hands. The predominance of shortened trajectories, small amplitudes with dynamic, high-speed execution of the technique and the preservation of closed vital centers.
d) Particular economy and freedom in performing high-speed strikes and leg defenses, thanks to a compactly balanced, equally supported and mobile fighting position.

3. Basic methods and patterns of movement in a combat stance.

Moving while maintaining a balanced, equal support position is the most important condition for stable work in a combat stance. The basic method is short displacements (without changing the stance) by stretching the position while moving the leg closest in the direction of movement and then restoring the stance by pulling the other leg to its original position.
Movements are performed on chusoku. Forward and to the left (from the left rack) - from the left foot; back and to the right - from the right foot. Combination in alternation of four directions (forward - backward and left - right) gives a "cross" - the basic scheme of movements without changing the side of the rack.
The Kyokushinkai fighting stance allows you to move and maneuver at different distances and in various ways (straight steps, "footsteps", spades through kake-dachi, turns on either foot) with and without changing the side of the position. Offsets in the combat stance at an angle of 45A in four intermediate directions (i.e., according to the "diagonal cross" scheme), together with the "straight cross", give the universal "eight-pointed star" scheme. The combination of straight travel, circling, straight and round turns creates an ideal range of maneuvering possibilities. At the same time, the combat stance, dynamically "flowing" into other positions, remains the focus of balance in combat.

4. Performing techniques in a combat stance.

Hand strikes (primarily tsuki, sita - tsuki and kake - tsuki) in the position "oi" and "gyaku" are combined with the transfer of support to chusoku, the inclusion of the hips and the "collection" of the body through concentration in the tanden, abdomen and "shoulder knots" ". At the moment of impact, cover is maintained with the free hand, after the impact, the hand returns to the protective position.
Various forms of protection in terms of type and methods of implementation (derived from classical, including circular, blocks, locking pads, soft "conductive" blocks, etc.) are performed in accordance with the same principles.
Performing kicks and kick defenses from a fighting stance (from either foot) involves returning to a well-balanced position as soon as possible. Both hands are in a protective position at all times.
To perform kicks, various methods of preparation and movement forward and backward, shifts to the sides, movements in a circle and other maneuvers due to distance-tactical factors can be used.

5 Performing combinations in a combat stance.

The principles of building combinations that are the same as kihon (from kicks and hands in combination with defenses). The factor of distance and typical tactical conditions when working in a combat stance. Approximation of the form of technique and the structure of combinations to the conditions of real combat (entry into close combat, resistance to pressure, bypassing the target with a shift from the line of attack, bypassing, turning, etc.)
The key value of "twos" from punches from the arsenal: tsuki, sita - tsuki, kake - tsuki - when combining the same or different techniques. The optimal scheme is to move 3 steps forward - backward or in four directions ("straight cross").
When moving forward and to the left in the left stance, a typical combination is "oh - gyaku", when moving back and to the right - "gyaku - oh". The need for subsequent development of reverse combinations. The ability to act from any position with either hand. The importance of synchronizing strikes with the placement of the appropriate foot on the chusoku and instantaneous "gathering" ("unity") of the body.
The key principle of building typical combinations with punches (and defenses) with legs is the ability to kick with either foot in any order of combining punches.
Performing special exercises based on technique (series, super series, etc.) to "spread" legs and arms is a necessary condition for increasing combinational capabilities when working in a combat stance.
The expediency of performing tactically complicated variants of techniques to bring combinational work closer to the reality of a sports duel or self-defense. Inclusion in the training of "cutting", "catching up" or "oncoming" direct and circular kicks at an angle of 45A, 90A, as well as 180A and even 270A (mainly using kicks to the side and back). Ability to work with hands in different directions, move in an outer circle (as if around the enemy) and in an inner circle (as in a situation of encirclement).
The need to include "exotic" techniques and "forbidden" techniques from the combat arsenal of self-defense in the general program of combinational work in the combat stance.

6. The method of digital encryption of combinations when working in a combat stance.

Identification of combinational "archetypes", including the most common techniques. Mastering through them the basic combinational arsenal. The numbering of a limited number of key combinations, providing freedom of action with either hand or foot. Appropriate selection and activation of "improvised" means and "running" combinations as the basis for mastering the combinational style of combat and the development of combinational thinking.
An example of a training "repertoire" of 3 combinations containing a kick and 3 combinations of only punches.
Combination according to the scheme "oh - gyaku + any leg":
Y1 - oy-gyaku + mawashi-geri (not at any level);
Y2 - oy-gyaku + mae-geri (chudan);
Y3 - oy-(gyaku) + usiro-geri (chudan).
The possibility of using other techniques on this basis - keage, oroshi-kakato, usiro-mawashi, individual "crown" combinations.
Combinations of 2-3 punches are performed with either hand and in free alternation. Distinguished by the last hit:
J4 - any direct blow ("oh" or "geku" in any stance);
Y5 - similarly, sita-tsuki;
Y6 - similarly, kake-tsuki.
The study of a limited set of 6 types of combinations involves their subsequent execution in a given or arbitrary order and volume. Free combination fight with a "shadow" - the final task in the kihon section in a combat stance.

7. Performing kata in a combat stance.

Work in a combat stance using the plan of movement of the simplest kata (primarily Taikyoku) disciplines and develops orientation in space. It involves achieving special dynamics in short movements while maintaining the quality of the technique performed in the appropriate style. While maintaining the kata, it is possible to use any type of technique and tactically justified combinations.

Section 5. Basic forms of KUMITE.

Stages and methods of preparation for free combat.
1. Training kumite as a methodological complex of real interaction with a partner.

Varieties of training kumite as a reflection of the typological diversity of training tasks. Technical, tactical, conditional tasks and their relationship. Typology of opponents and conditionality of sports and military training tasks.

2. Principles and stages of complication of technical tasks.

a) Conditional single attacks and defenses.
b) Conditional single attacks and defense with a single counterattack.
c) Conditional single attacks and defense with a combined counterattack.
d) A conditional series of alternately performed single attacks, each of which provides for certain options for defense and counterattack (single or combined).
e) Arbitrary alternation in a series of single attacks and response to each of them in a certain way (with a single or combined counterattack).
f) Arbitrary alternation in a series of single attacks and arbitrary (spontaneous) response to each of them in any way (within the mastered arsenal of technology).
g) A conditional combined attack and a corresponding defense with a conditional counterattack (single or combined) on the last blow.
h) A conditional combined attack with an arbitrary defensive response to any strike with a single or combined counterattack.
i) Arbitrary combined attack with arbitrary defensive response and free choice of means (within the limits of the mastered arsenal of technology).
j) The use of defense without blocks - escapes to a safe distance with an immediate counterattack (single or combined, conditional or arbitrary).
k) The use of defense with blocks and simultaneous counterattack (for any tasks).
l) The use of anticipatory counterattacks without blocks (for any tasks).
Sufficient technical training in kumite allows you to focus on tactics.

3. Principles of remote maneuvering, nature and stages of complication of tactical missions.

a) Defending and counter-attacking with a retreat to a safe distance - "retreating water" tactics.
b) Defense and counterattack with leaving the line of attack and approaching the enemy - the tactics of "flowing water".
c) Defending and counterattacking without leaving the spot - the "rock" tactic.
d) Defense and counterattack with advancing approach to the enemy - tactics of "stopper" or advancing "wedging".
e) Spontaneous remote maneuvering with unpredictable contact interaction with the enemy - "fire" tactics.

4. The most important criteria for the typology of opponents and the range of technical and tactical tasks.

a) Tactics of conducting combat with an opponent who works mainly with his feet. At a long distance - dodges and dodges while maintaining a safe distance, allowing you to perform advanced entries and counterattacks.
At an average distance - anticipatory defensive reactions ("live" arms, legs).
The use of evasions to the sides from direct attacks and to the sides with rapprochement from circular attacks. At close range (after reconnaissance) - rapid advance entries with hard blocks and a massive counterattack.
b) The tactics of conducting combat with the enemy, working mainly with his hands on "pushing" in close combat.
At close range - "sticking" with a counterattack with the knees and "spacing" the support with low kicks to the legs, ahead of traumatic blocks, blows to the biceps and other decisive methods of reciprocal compaction of the battle, characteristic of the "rock" tactics. Using the tactics of "flowing water" with a counterattack when passing the enemy past.
At an average distance - "stretching" the enemy towards himself (with control of his hands on the verge of a safe distance) and an almost simultaneous counterattack at the lower and middle levels. With successful actions, rapprochement and work with hands and elbows.
At a long distance - the use of leading stop direct kicks, short entries with any strong single kicks. Willingness to continue the fight with his hands. Another possibility is flexible maneuvering on the verge of a safe distance, combined with unexpected sharp entries with short counterattacks ("fire" tactics).
c) The tactics of milking with a "combination" fighter suggests different options for interaction. The choice of "rock" tactics requires a decisive counterattack. The tactic of "flowing water" makes it possible to control from a vantage point. The tactics of advancing "wedging" allows you to "extinguish" the attack through "sticking", "knitting" of arms and legs and to counterattack strongly.
d) The tactics of conducting a battle with a "maneuverable" fighter provides for holding a position on the defensive. It is not necessary to pursue a moving enemy, but it is necessary to be ready to seize the initiative with a powerful "landslide" counterattack.
e) The tactics of fighting with a "knockout" involves identifying the prevailing manner of fighting and the "crown" reception of the enemy. It is advisable to keep a distance, maneuver and provoke the enemy to the usual actions. At a convenient moment, you should use a tough traumatic defense or an unexpected maneuver with a decisive counterattack.
f) The tactics of fighting with a "dirty" fighter, working on the verge of prohibited actions, imposes increased requirements for protection and maintaining a safe distance. When seizing the initiative, you can use both a combined counterattack and strong single strikes against open and vulnerable places.
Tactical training in general involves the development of various combat capabilities and the ability to quickly adapt to the enemy, imposing his tactics, style and manner of combat on him. If necessary, a fighter must be ready and able to change and combine tactics.
Technical and tactical training in a traditional school is not limited to sports. They are also aimed at self-defense and survival in extreme conditions, based on the typology of opponents and the situation of a real battle. Here, both the opponent’s training profile (wrestler, boxer, all-rounder) and various related factors (an untrained but strong opponent, an insidious street “fighter”, an armed opponent, the threat of several opponents, etc.) can be taken into account. At the same time, fundamental tactical principles in Budo-karate and Budo-sport are united.

5. The main ways of transition from conditional kumite to free fight.

a) Gradual complication of educational tasks and removal of restrictions.
b) Combination building up in attack, and accordingly in defense and counterattack.
c) Building a "chain" in the conditioned interaction of partners. Alternate interception of the initiative on the principle of paired kata, where the exchange of attacks-counterattacks is carried out (from 2 to 5 continuously performed "links").
d) Using the same method, but with the exchange of arbitrary attacks-counterattacks during continuous but short bouts (from 2 to 5 "links").
e) Increasing the pace of free game sparring - from slow and fully controlled "chess-game" interaction with a partner to high-speed spontaneous combat with very light contact.
f) Increasing the degree of contact and strength in the interaction of partners. The use of additional protective equipment when conducting free training fights with full contact.
g) "Rehearsal" fights, taking into account the time schedule of sports fights with individual technical and tactical tasks and conditional conditions (including using manual makiwaras or additional protective equipment).
h) Involvement of special techniques and psycho-techniques for the development of hypersensitivity and the solution of the possibilities of adaptation to the enemy (for example, the use of techniques for training in combat with closed eyes).
i) Complicating the conditions of combat and training testing to gain additional combat experience and the corresponding "margin of safety" (for example, training sparring with 2-3 opponents for any, but gradually becoming more difficult tasks).

Section 6. Related, Complementary and Specialized Forms and Methods of Training.

1. Warm-up and stretching as a factor in the functional support of the training process.

Interdependent and related sections of general and special physical training.
- Warm-up and stretching in connection with the introduction, learning and execution of karate techniques.
- Correspondence of the types of warm-up to the prevailing profile, goals and objectives of the training.
- Standard and free - technical series for arms and legs in technical training.
- Dynamic (running or jumping) warm-up options (eg Thai type) in sparring training.
- Actually sparring warm-up forms - from slow and light "chess-game" sparring with a gradual approach to a mobile game fight with light contact.
- Speed-strength types of warm-up in conditioning training (strength exercises, including with one or more partners, outdoor games, relay races, etc.).
- Soft, static and static-dynamic forms of warm-up based on traditional methods of psychoenergetic self-regulation, breathing and meditative exercises in recovery training
- Correspondence of stretching (usually accompanying a warm-up) to the goals, objectives and conditions of training (including the level of preparedness of students).
- Static, dynamic and static-dynamic forms of stretching.
- Basic principles and implementation options.
- "Sparing" methods and techniques of stretching in the optimal amount and with full control.
- The principle of safety is the basis for a gradual and dosing complication of a set of exercises.

2. Special conditioning-cyclic training of an athlete.

The target setting is to achieve the peak of form or an intermediate level of preparation for competitions of a certain time cycle.
- Accounting for the individual capabilities of athletes in the content of the training process.
- Ensuring the necessary "margin of safety" in conditions as close as possible to real ones.
- Associated general physical and special physical training.
- Medical support and control.
- Work on shells in the contact style of karate.
- Setting strikes on projectiles, taking into account the specifics of technology and training tasks (bags, hand makiwaras, paws).
- Combination work, staging "crown" techniques.
- Conditioning, speed-strength work.
- Conditioning-sparring, technical-tactical work on equipment with a partner (on separate tasks and in the form of "rehearsal" fights).
3.Traditional military all-round training.

Military all-around at the school of Budo-karate.
- Acquaintance with related types of martial arts and martial arts.
- Work with weapons based on karate.
- The ability to fight unarmed with an armed opponent.
- The use of improvised items and means in a real battle.
- Climbing from the military craft and the art of self-defense to the school of survival and the military Way.

4. Hardening of striking surfaces and the practice of tameshiwari in the system of military and sports training.

- Special methods of forming the "body-weapon" and "armor" in traditional karate.
- Testing the real effectiveness of striking techniques in the practice of tameshiwari.
- Demonstration of the "fruits" of karate in demonstration performances.
- Tests of tameshiwari in sports competitions.
- Physical, technical and psychological aspects in preparation for tameshiwari.

5. Psychological preparation and testing in Budo-karate. Methods of psychoregulation and spiritual-meditative practice.

A single basis of traditional Eastern systems of psychoregulation and spiritual practice.
- Methods of Taoist, Zen and Indian yoga, Chinese qigong, Korean chharek, etc. in traditional oriental training.
- The "dissolution" of the relevant methods in the course of traditionally organized training.
- Activation of psycho-regulatory mechanisms in the cycle of intensive training and testing in extreme conditions (training camps, night training, kumite tests, etc.)
- Budo-karate system as a school of psychoregulation and spiritual practice.
- Traditional and karate-adapted forms of Zen meditation.
- Zazen sessions at the beginning, end, middle of training, outside the dojo.
- Special forms of Zen meditation while walking (kinhin), on the run ("hey-sho, tei-sho"), sound (vibration-mantric) meditation, etc.
- Kata, kumite and tameshiwari as specific forms of active meditation and spiritual practice.

6. Dojo etiquette and communication ritual in a traditional school.

Spiritual and professional military hierarchy and ritualized relations in the traditional school.
- The discipline of self-control and communication etiquette as the face of the school of martial art.
- Harmonization of the community of seekers of truth on the military Path as a factor in the survival of Budo-karate and spiritual practice.

Conclusion. Professional and ethical principles in the activities of instructors and examiners.

Instructors and examiners are the main keepers and bearers of a holistic tradition, characterized by the unity of military craft, art and the Way. Responsibility for the usefulness of the transmission of traditions, the creative development of Budo-karate and modern Budo-sport.
The norm of life of a Kyokushinkai instructor, an expert of Budo-karate, a master mentor is a creative approach to learning, improving one's own professional qualifications, observing the ethics of behavior and communication, exactingness towards students and respect for their honor and dignity.
The examiner's concern is the observance of the high IFK standard, strict adherence to the current standards, regulations and examination procedure.
An instructor-examiner is the face of a traditional school, an example of discipline and self-control, a guarantor of dojo etiquette. His concern is the atmosphere of enthusiasm, emotional and spiritual uplift during training and exams, which contributes to the fullest disclosure of the possibilities and manifestation of the merits of Kyokushinkai adherents.
The combination of professional integrity and exactingness of the examiner with a sober balance of decisions, a comprehensive assessment of the results. Accounting for all determining factors, ranging from the correlation of various aspects of the preparation of applicants, and to their physical, age and personality characteristics.
The vocation of Kyokushinkai masters is to master the "mastery of life". Search for "wisdom" in the course of studies and trials. "True" motivation and spiritual goal-setting is the key to the truth of the Way of Kyokushin Budo-karate.

The main method of studying art Karate– study of formal complexes Kata and psychological preparation.

Kata (combat complexes) Karate

A kata is a set of movements that simulates a fight with one or more opponents with different degrees of restrictions in terms of technique and other parameters of the interaction of opponents. In addition to directly defensive and offensive techniques, all Katas include Qigong exercises (the art of accumulating and managing energy using special body positions and breathing methods). Almost all Kata end at the starting point of the movement. Enbusen - the trajectory of movement during the execution of Kata - is built according to the canons of oriental medicine - and also contributes to the accumulation of energy.

Karate kata are beautiful aesthetically. A fighter during the execution of Kata develops his internal (aesthetic, moral, volitional) qualities.

Performing a good Kata is possible only with deep self-control, a sense of inner harmony and with the outside world. Every movement must be filled with harmony and inner strength.

In addition to learning Kata Karate, students learn the Tai Chi Quan technique, which is characterized by softer movements and which promotes excellent relaxation. (For Tai Chi Quan, see separate tab). Also, Tai Chi Quan allows you to feel the hidden softness in the movements of Karate. After all, the highest Kata of Karate also have very "soft" elements. )

Unity with nature. "Cultural program".

The masters of antiquity taught: "Don't use the strength of the muscles - use the strength of the earth, the strength of the trees, the strength of the wind..."

The point is that a karate student must deeply feel nature, the world around him. Feel the soul of everything, feel the energy. To do this, we try to communicate with nature. To do this, we attend concerts, art exhibitions - in order to feel the beauty through art (some students themselves try to write poetry, draw pictures). To do this, we do mini-hikes and excursions on weekends. To do this, we organize a summer sports camp in a picturesque place. (See tabs "ACTIVE WEEKEND" and "ACTIVE HOLIDAYS") To breathe clean air to the fullest, so that the reflections of the Sun on the waves in summer or on pure snow in winter remain in our souls. To feel gratitude for the beauty of nature. Gratitude breeds love. Love leads to unity.

The program for studying Karate is designed for approximately 10 years of study. The student passes 9 student degrees (KYU) and 3 higher degrees (DAN).

Psychological preparation.

The goal is to give students basic knowledge of psychology, as well as a simple and understandable system of self-improvement, free from any mysticism and religious influence, to teach the ability to maintain self-control both in everyday life and in extreme situations. To teach the exciting process of consciously building one's personality, the ability to independently cultivate the best human qualities and talents in oneself, to be a harmonious, healthy, useful person for others.

One of the main methods of psychological preparation is the creation positive image self and self-exploration.

It is for this that we study the Samurai Bushi-Do Code - in fact, the code of a decent person.

Gichin Funakoshi - one of the most respected masters of Karate - gave priority to the spiritual side of Karate and considered it more important than combat training.

He often warned his students, "Without courtesy, the spirit of Karate is lost."

A person who is engaged in martial arts must be distinguished by moral purity, kindness, patience, wisdom and striving for inner and outer perfection.

Naturally, such goals will not allow you to stop in your development all your life. Therefore, a truly wise person will never call himself a Master, although he has been studying Karate all his life.

The combination of modesty and bravery, politeness and indestructible fighting spirit, which is embodied in clear and effective movements, are the main criteria for assessing the mastery of Karateki.

Funakoshi called the main secret of Karate the feeling of love for the enemy. Cooperation and mutual understanding is, in his opinion, the ultimate goal of Karate.

I found a very good article in my opinion about teaching karate to children.

Before talking about the possibility or impossibility of teaching style karate to young children under the age of 7, let's try to figure out what style karate is as an object of study, what a child is as a subject of training and how it differs in this regard from an adult.
Karate is one of the Japanese self defense systems. The basis of the technical arsenal of karate is punches and kicks, but along with this, the technique of throws (nage-waza), painful effects on the joints (kansetsu-waza), strikes on vital points of the human body, etc. is used.
Over the centuries, the formation and practice of karate has been transformed into a martial art by synthesizing technique with the philosophical, ethical and aesthetic principles on which Japanese culture was based.
Leaving philosophical and ethical aspects aside, let's talk about technology. Karate classes usually begin with learning the technique. The whole technique of karate is based on the sharpness of movement and on the concentration of energy at the right moment, giving power to the blow. Movements should be energy efficient and optimal from the point of view of biodynamics. To develop this type of movements, it is necessary not only to understand their mechanism, but also to break the motor stereotypes that have developed by the time the training begins.

The karate training program consists of three compulsory sections: kihon, kata and kumite.
Kihon are basic attacking and defensive movements extracted from kata and their combinations based on different movement techniques.
Kata are formalized complexes, the performance of which is standardized in karate.
Kumite - an exercise with a partner, a fight with an opponent.
All three sections are studied in parallel. A person who is not only physically well prepared (trained), but also has a developed intellect and certain character traits can step over the student level in style karate. The process of learning karate can be effective and fast enough if the student is able not only to memorize, but also to analyze and self-correct.

Ordinary children, not child prodigies (the vast majority of them), and it is them that we teach karate, are not capable of complex logical constructions. Their level of thinking is called prelogical. They only accept specifics. If you want the perception of a small child to be clear, i.e. in order for him to remember all the details, the amount of information offered to him should be very small. The child remembers information figuratively, so it should be presented to him in a form convenient for this. In what, depends on the way of perception of a particular child. This method can be established by observation or special testing to identify modality (method of perception and memorization).
According to the way of perception and memorization, people - including young children, in whom this is especially pronounced - are divided into the so-called visuals (perceiving mainly visually, remembering the visual image), auditory (perceiving mainly from words, remembering the speech image), and kinesthetics (perceiving mainly through movement, with a well-developed "muscle" memory). There is also a fourth group - discretes that do not belong to any of these groups, but they are few, and in our practice we have not encountered them.
When classes are held in a group, this group will always contain owners of different modalities. Therefore, in karate classes, it is necessary not only to show, but also to describe in words each movement. In doing so, you need to use understandable to a child image. If one of the children still does not understand anything and does everything wrong, then most likely you have a kinesthetic in front of you. You need to approach him, place his legs correctly and make the required movement with his hands or feet, let him feel how the muscles work. It is imperative to show and give the opportunity to feel what this movement is for. If the movement is well felt, the kinesthetic learner will remember it very well, even better than the visual or auditory, despite the fact that it "reaches" it more slowly.
The difference in modalities is one of the reasons why karate can be practiced productively with children only in small groups - no more than 10 people per instructor. Almost every child requires personal attention and an individual approach.
It is much easier to teach an adult who has a conceptual apparatus, developed logic and the ability to structure material, who knows how to control his attention (yes, by the way, small children do not know how to do this, and their attention has to be controlled for them), who has the motivation to learning (children rarely have motivation, at best, parents have it. And the child just suddenly “wanted.” And after an hour he “got sick”) and volitional control (children don’t have it at all, there is only a mood that the teacher has to create ). In addition, an adult himself knows what he needs to do in order to memorize information - he has already intuitively developed a memorization technique that corresponds to the characteristics of his perception. Therefore, an adult can be offered a sufficiently large volume of material for assimilation. For the same reason, classes with adults can last about two hours, and with kids - usually no more than an hour. Most of the lesson should take place in the form of games, the information load should be increased gradually.
The child perceives information holistically. For example, a very young child may not understand the words addressed to him, but he will most likely understand the general meaning of the appeal. The fact is that the main part of the information comes non-verbally, i.e. apart from words. An adult, thanks to his experience of verbal communication, first of all begins to comprehend the words themselves. And the baby will first of all perceive intonation, facial expressions, body movements, posture (the so-called "body hieroglyph"), voice timbre, etc. And he will immediately understand that an adult will reach some time later. For example - "this uncle pretends to be angry, but in fact he is kind", or - "aunt wants to seem kind, but in fact she is bad." Not because the child is so smart, and adults are fools, but because he is not yet able to analyze another layer of information properly. A specially trained adult can also analyze the non-verbal part of the information, but, unlike a child, intelligently manage this process.
From this we can draw the following conclusions.

First: If an instructor comes to a lesson in a children's group in a bad mood, or feels bad, cannot concentrate, experiences negative emotions, the children will instantly feel it, and it will become impossible to manage the group. Therefore, the self-control of an instructor who teaches classes with young children should be ideal.
Second: small children whose speech apparatus is not yet sufficiently developed - i.e. up to 4 years of age - you can, of course, teach simple things, including preparing for karate classes. But such training can only be carried out individually.

Children's perception is different, as you know, brightness. We say: freshness of perception. Let's try to analyze this phenomenon. What does it mean - brightness and freshness of perception? In fact, everything is quite simple. The child does not yet have a picture of the world, which is essentially a template. Including - a pattern of perception. The child has not yet established connections between the perceived images and phenomena, so the world seems strange, amazing, excitingly interesting, so the images are literally imprinted in memory. Think back: what do you remember best? Something that surprises and amazes. Which is accompanied by strong emotion. So, the child is surprised by everything and everything is accompanied by emotions. Therefore, his impressions are vivid. But what the child already knows about, what it is, about which it was explained to him that it is "so-and-so", ceases to arouse interest and attract attention. In childhood, patterns are formed very quickly, and they turn out to be extremely strong.
That's why, Firstly, in the classroom with young children, in no case should the same exercise be repeated many times in the same form - you simply will not force the children to do it properly, they will perform it purely formally, since they already "know everything" and they are not interested.
Secondly, you still need to constantly return to the past, showing the children that they do not know everything about it - preferably in such a form as to evoke surprise or an emotional response in children.
Thirdly, if the child has already formed an incorrect pattern, for example, the performance of a movement, it is necessary to put him in such conditions in which he will not be able to use this pattern and will have to control his actions himself. For example, if a child does not bend his knee while performing mae-geri keage (biting forward kick), you can put an obstacle (bench) in front of him or seat a partner at a certain distance, while so that the child cannot step back - for example with a wall behind you. Then, in order not to catch on to the obstacle, he will be forced to bend his knee while swinging his leg.
Karate, as we have said, is not a simple discipline. Comprehension greatly facilitates and speeds up the execution and memorization of movements. The better the thinking process is structured in a person, the easier it is to learn karate. It is easier for people with a technical background to learn karate than humanists, probably because of their inherent accuracy of thinking. No approximation in karate is allowed.
Another method is also widely used: gradual comprehension in the process of execution, as a result of repeated repetitions. In other words - "do until you understand." But in any case, in order to learn karate, understanding is necessary, whether it will be the starting point or appear as a consequence.
In order for the child to "go" the process of learning more or less complex actions, it is necessary for him to have:

• attention control (it must be brought up)

Control of their actions and their consistency with the actions of the instructor of the conceptual apparatus (it needs to be formed, and for this the child needs experience) logical thinking (the large hemispheres of the brain must go through the process of formation, in addition, the child needs to be helped to learn to think, and not use ready-made templates - which is simpler) volitional control, or control of intention (achieved by education and self-education)

Without this, teaching complex subjects is impossible. The integrity of perception and the brightness of impressions is wonderful. But without understanding the interconnections, without the ability to differentiate and integrate - in other words, to break it into components and make up a whole from parts, without the ability to concentrate, nothing will fit in the head. Therefore, learning in a child has to be formed. Due to the peculiarities of children's perception and thinking, teaching children is a much more laborious and lengthy process than teaching adults.
Karate is called an art. You can, of course, call the drawings of a 5-year-old child art, but even if he is talented, you will not put them on a par with, say, Aivazovsky's The Ninth Wave. Rather, they can be called exercises in drawing. In the same way, we do not do karate as such with children, but lead-up and formative exercises, including basic techniques. Because the basic technique in karate, in fact, is also a formative exercise. None of the highly qualified karate specialists fights with basic techniques - this requires other trajectories, speeds and rhythm.
Karate can be considered a science in some way. A science that man adapts not only to his mind, but also to his body. And at the same time he adapts to it: he teaches his body to work according to science.
Any style karate instructor knows that technique is neither late nor early age is not achieved by the "naturalness of movement". Natural movements for a child, as well as for any person, are those that he used to perform in his daily life, which preceded karate classes. That is, movements with the usual coordination for him. And the habitual coordination of many babies is such that they cannot even bring a spoon to their mouth without spilling it.
Of course, there are children who are dexterous by nature - unfortunately, they are a minority - but the coordination of karate movements for children is completely unusual, although it is optimal from the point of view of biodynamics. For example, a straight punch is a product of training, not a natural movement. The technique of such a blow has to be developed using special lead-up exercises. In the same way, one has to "set" the technique of racks, movements, kicks, blocking movements, etc. This is hard work, both for the child and for the instructor. But when karate coordination becomes habitual, the movements both look and feel more natural than those of an untrained person. This applies to any kind of specialized activity. So it turns out that naturalness is a product of fitness. And spontaneity is the result of naturalness.
Karate classes are very hampered by stereotypes. There are more problems with children in this regard than with adults. We may be objected: how so? After all, an adult always has a large number of templates, he has accumulated so many of them in his life that a child could not even dream of. And yet it is so. Because an adult can become aware of his patterns and consciously replace or transform them, but a child is not capable of this. The instructor has to do everything for him, you have to use a lot of special exercises to form new types of movements. At the same time, incorrect patterns “stick” to the child instantly, and if there is a pattern, the movement ceases to be conscious and cannot be controlled. Weaning a child from the wrong performance that has already become habitual for him is a very laborious task. Therefore, all basic movements are learned with children in divisions, with intermediate phases and control at each section of the trajectory. With the help of special exercises, the work of all parts of the body is synchronized.
For babies, volitional control over the movements of the peripheral parts of the body - the hands and feet - is always especially difficult. In most children, the arms from the wrists to the tips of the fingers and the legs below the lower leg exist as if on their own, children need to be taught to feel these muscles and control them voluntarily. If the instructor does not pay attention to this, most of the basic techniques will be performed incorrectly by children.
The instructor must understand and teach children that there is a pattern for performing movements, but there are specific options that depend on situations. Otherwise, in the future, the child will have problems with the variable use of technology and with the perception of various modifications that differ from the basic version.
The same approach should be developed in children and in relation to kata (specialized formalized exercises), which by no means can be considered a template. Rather, they can be compared with hieroglyphs.
A hieroglyph is a symbol that contains several semantic layers. In the same way, each kata has many semantic layers - ways of interpretation and application. Without practicing karate N-th number of years and without adapting this and all previous kata to your body and mind, it is impossible to learn how to perform it correctly - i.e. meaningful and technically sound. Behind the meaningful and technically competent performance of kata is the understanding that kata in karate is not an anachronism, but a method of teaching the biodynamic principles of karate, plasticity and rhythm.
Summarize.
Despite the fact that karate cannot be attributed to simple things, it is possible, necessary and useful to practice style karate with young children.
First, acting carefully, you can significantly develop and improve the child's natural data - for example, flexibility, joint mobility.
Secondly, it is possible to correct the shortcomings of his coordination and correct the defects in the development of his musculoskeletal system, for this there are special exercises.
Thus, it is possible to save the child from physical defects that would impose restrictions on his technique. At a later age, such shortcomings have to be compensated using more accessible techniques from the arsenal of karate.
You can also master the basic technique with your child and learn the simplest student kata. This will take 3-4 years (for an adult - 1 year), but this will create the prerequisites for rapid progress in the future. For a child who has been practicing for a long time (several years), karate coordination becomes familiar, i.e. natural; in addition, a very important skill is developed - the quick and meaningful assimilation of new coordination
The child learns to breathe correctly, which is also very important for karate, as well as quickly move from muscle tension to relaxation, and vice versa. Children are usually more relaxed than adults, therefore, if their technique is well established, their speed of movement is higher than that of adults. For teaching Shotokan karate, where all the technique is built on speed, coordination and concentration at the right time, it is advisable to use it.

In addition, style karate classes under the guidance of a qualified instructor stimulate mental development in children - they teach to focus attention, develop memory, teach the child to use the features and compensate for the shortcomings of his characteristic system of representation (the way information is perceived), lead away from stereotypical thinking, develop both logical and and figurative thinking, etc.

Classes in style karate influence the formation of a child's character - he becomes more self-confident, learns restraint, self-control, determination. The child will understand that the respect of others can only be achieved through work and adequate behavior. It has been noticed that in the children's group, not those children who are trying to attract attention to themselves in every possible way - they are just not taken seriously - but the most diligent and at the same time calm, who have the best technique, have the greatest authority.
We constantly repeat the words "style karate". All of the above does not apply to the so-called "simple" karate, "out-of-style" karate-do, "contact" karate, Russian karate, etc. You can understand karate in different ways and give it different definitions, but the basic principles of karate must be respected, otherwise it will not be karate.
If the child is engaged regularly and for a sufficient time, the result is always there, regardless of the initial data. Qualitative changes usually appear after a year of classes. Sustainable results can be achieved in 2.5 - 3 years.

By the results, we mean, first of all, a significant increase in learning ability (due to the departure from the usual stereotypes of perception, thinking and movement, the development of attention control), then - the possession of basic techniques, an increase in mental stability, and behavior correction. For most children, in order for the result to be pronounced, additional individual sessions, well, if the instructor has the opportunity to conduct them.

Regarding the expediency of practicing martial arts at an early age, the following can be added. First of all, parents need to decide what they want for their child. If they want him to grow up healthy, smart, become more plastic, learn self-regulation and exercises that he can do to maintain health and good shape all his life, become more calm and self-confident, then the child should be sent to style karate to a good instructor (not the champion). From boxing, a child’s health and ingenuity, you understand, will not increase (I have, for example, information that about 80% of boxing masters of sports are registered in psychiatric dispensaries), and no one will take a child into boxing from the age of 5 . In general, children are usually taken to sports from the age of 10 - 14, and not all of them, but only "promising". The method of training an athlete is based on the development of natural qualities, and not on the education of the necessary ones.
It seems to us that it is more expedient to teach a child what he can do all his life. Style karate is not finished due to "age unsuitability". If a student stopped participating in competitions, this does not mean that he has ceased to improve in technique. In general, there is no direct relationship between progress in karate and participation in competitions. Huge benefits and pleasure from karate classes can be obtained at any age, while karate classes do not interfere, but contribute to mental activity. All famous karate masters have lived a long life - in their opinion, thanks to the practice of karate - and practiced karate all their lives. Modern major masters such as Kanazawa, Asai, Enoyeda, Kase, Kenneth Funakoshi and others are no different from them in this regard. But former athletes (all athletes inevitably eventually become former ones) usually cannot boast of good health, and besides well-being, they have many problems.

Encyclopedia of Karate Mikryukov Vasily Yurievich

Chapter 4 Karate Schools and Styles (Techniques, Tactics and Teaching Methods)

Schools and styles of karate (techniques, tactics and teaching methods)

There are no good and bad styles, there are no good and bad tricks, there are good and bad performers!

The motto of true masters of karate

Nobody knows the total number of schools and styles of karate today. Whether there are hundreds of them, or thousands. In the old days, karate was kept secret from strangers. The newcomers were not told about his style and capabilities. In modern times, many home-grown "sensei" have appeared who preach their own styles, known only to themselves and supposedly coming from the martial arts of Chinese-Okinawan origin, but in fact have nothing to do with them and generally have nothing to do with karate.

On this occasion, the patriarch of modern karate F. Gitin once said: “I am often asked: “How many styles (varieties) of karate exist?” The question, at first glance, is simple. But it is difficult to answer it. The fact is that karate is a very individual kind of wrestling or sport. You can even say that each karateki has his own karate. There are several subjective reasons for the emergence of numerous styles of karate. Take, for example, such a circumstance. A person cannot correctly perform some movements of the kata, he does not succeed in this or that technique. As a result, the kata is performed in the way that this particular person can, due to his physical data. Lack of diligence is also a reason: the student memorizes the kata incorrectly, although he could have practiced it better. It happens that people do not train for a long time and forget the traditional kata, try to perform them, but they come up with completely different movements. There are also personal mistakes of trainers, and idiosyncrasy for certain movements in kata. Anything can happen. Yes, there are many reasons why a particular kata is modified. But to say that this leads to the emergence of different styles is, in the strict sense of the word, incorrect and even unworthy.

There are people, and there are many of them, who try to mix the small skills of jiu-jitsu with the equally small skills of karate. As a result, they do something strange, not worthy of either name or the other. There are those who pass off their homegrown inventions as some special style of karate or a special style of kenpo. It will be a pity and a shame if they are taken seriously.

Too many "karate masters" have divorced, whom no one but themselves considers as such. It happens that such a gentleman comes to me in the dojo and introduces himself: “I am the best student of Sensei Imyarek.” As a rule, the "best student" has nothing but ambition, he does not even have mediocre martial skills. And most often these "masters" should be pitied: they simply have very weak abilities. One can only wonder how such a primitive person finds words for self-promotion. And if those are taken seriously, then the number of styles of karate is limitless.

A few years ago, my students and I went to Butoku-den in Kyoto for a martial arts demonstration. Karate was listed in the program in the Judo section. I wondered who else would take part in the festival. And what did I see? The program listed karate schools that I had never heard of in my life. When it came to performances, I was almost speechless: THEIR karate was NOT karate at all. I came to my senses. Feeling ashamed and embarrassed, he decided to apologize to the public. After all, they just took for karate what I, who devoted my life to this art, did not recognize and could not consider as such. And when they ask me how many styles of karate do you think I should answer? Enumerate it is unknown what? It's unforgivable to lie like that."

However, as already noted, there are currently at least several hundred schools and styles of karate all over the world. Below, in alphabetical order, we give a brief description of some of them (more detailed information about these schools and styles of karate is given in chapter 27 of section IV).

Parker's American Kenpo Karate - a style of karate created by an American of Hawaiian origin (great-great-grandson of the Hawaiian king Kamehameha the First, who ruled in Hawaii in early XIX c.) Edmund Kealoha Parker (1931-1990), which was based on 150 basic techniques from Japanese jujutsu, Okinawan kenpo, Hawaiian (Polynesian) fighting methods, and street fighting techniques.

Ashihara karate - the latest contact style, founded in 1980 by the Japanese master Haideyuki Ashihara (1944-1995), which synthesizes karate, boxing, aikido.

wado-ryu - "School of the peaceful way", a style of Japanese karate, founded in 1939 by master Otsuka Hironori (1892-1982), who postulated quick wits, dexterity, speed, accuracy of strikes, the so-called principle of "soft" contact with the enemy - instead of "steel" block or power strike sudden departure from the line of attack with an imbalance of the opponent and a throw; at the same time, the blows in the throw were carried out with a push or with simultaneous hooking.

goju-ryu - a school of hard and soft, a style of Okinawan karate, founded in the 20s. 20th century by the Japanese master Miyagi Tojun (1888–1953), whose distinguishing feature is the close distance of combat, when the enemy does not enter into a long exchange of blows, but tries to get into close combat on the first movements, knock down and, in a position that is uncomfortable for the enemy, make a painful, suffocating reception or finishing blow to vital centers.

gosoku-ryu - "School of speed and strength", a hard and fast style that combines the techniques of Shotokan and Goju-ryu styles. It was created by Kubota Takayuki, an American of Japanese origin, who became famous for the invention of the “kubotan” - a palm stick that simultaneously serves as a keychain for a bunch of keys. The emphasis in Gosoku-ryu is on the practical application of learned techniques and sparring (fights).

Joshinmon-Shorin-ryu - "Gate of the Unshakable Spirit", one of the "new" styles of karate, founded in the late 1960s. by the Japanese master Hoshu Ikeda (b. 1942), in which they teach to master not only the body and weapons, but first of all the spirit. The style includes the technique and methodology of traditional karate (general and special sections), the technique and technique of kobudo (a weapon technique based on the art of using traditional Okinawan weapons - bo, jo, nunchaku, etc.) and a type of manual therapy (seitaido).

Jukendo - "Way of the Soft Fist", created by Tong Qinzak, better known by his Japanese pseudonym Kinryu (Golden Dragon), which combined the techniques of several styles of Wushu with various Japanese methods.

Doshinkan - also one of the "new" styles of karate, which was founded in 1966 by the Japanese master Ichikawa Isao. At the heart of the teaching of this school, along with spiritual and moral education, are the basic forms of exercises - kata.

Isshin-ryu - "School of the Lonely Heart", a mixed style of Okinawan karate that combines elements of Shorin-ryu and Goju-ryu styles. Created by the master Shimabuku Tatsuo (1906-1975) in 1956. A feature of the style is the simplicity of technical actions: the stances are natural, the blows are short, the movements are fast.

Kyokushinkai – “School of Absolute Truth”, a style of karate widespread in the world, created in 1957 by the Japanese master of Korean origin Masutatsu Oyama; hand-to-hand fighting techniques are used with hands and feet, including kicks to the legs, but with the prohibition of punches to the head.

Kojo-ryu - the style of Okinawan karate created by the Kojo family, the essence of which is expressed in the words of one of the representatives of this family, Kojo Kafu: “Karate is the art of real combat. It is not limited to punching and kicking. The defender must be able, in addition, to grab, throw, dislocate a limb, strangle.

Kosiki karate - a sporting variant of the Shorinji-ryu Kenkokan style, which arose several centuries ago as a fusion of traditional martial systems practiced on the island of Okinawa and the systems of the Shaolin monastery. The modern interpretation of Koshiki Karate was given by Kaiso Kori Hisataka (1907–1988). One of the brightest students of Kaiso Kori Hisataka is his son Masayuki Kukan Hisataka (b. 1940), who succeeded his father as the supreme teacher in Shorinji-ryu Kenkokan karate-do. Masayuki Hisataka founded the World Federation of Koshiki Karate, in which members of various styles of martial arts can compete using special protective equipment. The main feature of koshiki-karate is the obligatory protective equipment, comfortable and reliable, made on the basis of the latest technologies.

Kudo - a style in which its creator Azuma Takashi combined the techniques of karate, wrestling and boxing. It allows any punches, kicks, including elbows and knees, to any part of the body, except for the back and the back of the head. Clearly developed rules and their strict observance by the judges at the competitions, as well as the special attitude of the fighters, make it possible to almost completely avoid injuries. In addition, the fighters use protective equipment. The face and the most vulnerable areas of the head are covered by a superface helmet specially designed in Japan with a plastic visor.

Motobu-ryu kenpo karate - Okinawan style, created by the Japanese master Motobu Choki (1871-1944); characterized by taller than other Okinawan styles, stances, the desire for close-range combat, a combination of hard furious attacks with soft deflecting blocks and graceful movements.

Okinawa Kempo Karate - a style created in 1953 by the Japanese master Nakamura Shigeru (1893-1969); a distinctive feature is the practice of kumite in protectors (with gloves and with an elastic breastplate) and the development of speed and agility combined with strength.

operational karate - a direction in the system of modern karate and hand-to-hand combat, created in the 1970s. in Cuba. It has an applied orientation, proven by experience and practice. Operational karate is based on the experience of classical Japanese karate, as well as its traditional Japanese and Okinawan styles, practical experience of combat sambo and army hand-to-hand combat and many other martial arts.

Ryuei-ryu is a style of Okinawan karate created by Nakaima Kenko (1911–1989), which places equal emphasis on both traditional Okinawan weaponry and bare-handed fighting, with sparring with real strikes playing an important role in bare-handed fighting.

Shorinji-kenpo - "Fistfight of the Shaolin Monastery", a system of self-defense, spiritual improvement and physical education, which was created in 1947 by the master Nakano Michiomi (1911-1980), better known under the pseudonym So Doshin. This system includes the study of the laws of nature and society, physiology and psychology, Eastern philosophy and medicine, the strategy and tactics of a duel, the development of the bioenergy capabilities of the body, the development of the ability to consciously control the circulation of energy, direct it to any point of the body and to the surrounding space, as well as body improvement. At the same time, the improvement of the body is carried out in three ways: solid (goho) - includes various defensive actions, such as escapes, dodges, dives, jumps, blocks and counterattacks in response to enemy attacks; soft (dzokho) - includes throws and painful holds, release from captures and counter-captures, suffocations, etc .; self-regulation (seiho) - combines the practice of sitting and dynamic meditation, relaxation, acupressure and self-massage, methods of instantly bringing oneself into a state of the highest combat readiness, methods of resuscitation and recovery by influencing the energy channels and centers of the human body.

Shorinji-ryu Kenkokan - a style of karate founded in 1946 by master Kori Hisataka (1907-1988). Technological features of the style are the practice of vertical punching and the emphasis on footwork using the heel as the primary weapon. The mandatory program also includes a fight against a partner with a weapon. Training sessions at the "advanced" stage of training are carried out in protectors and protective helmets.

Shindo-ryu - "School of the True Way", one of the styles of Okinawan karate, belonging to the Hanashiro family tradition, the most important principles of which are the principle of "one blow - on the spot" and the principle of "cold-blooded determination to go in battle to the end", and the main components of the training are the practice of kata, work on shells and kumite.

Shito-ryu - "School of Itoshu and Higaonna", a style of "gymnastic" karate, created in the early 30s. 20th century in Osaka by the master Mabuni Kenwa (1889–1952); While not denying the importance of kumite and tameshiwari, the focus here is still on kata, which, like the Shotokan style, turns classes into a kind of paramilitary gymnastics.

Sen'e - "The Work of All Life", a karate school that arose in the USSR in the early 1970s. based on Korean style kwon-thu"(lit. "fist fight") and is a mixture of Korean, Japanese and Soviet elements of hand-to-hand combat.

Uechi-ryu - the style of Okinawan karate, the founder of which is master Uechi Kanbun (1877-1948). A feature of the style is that fights are held in hard contact all over the body and without protectors. At the same time, undercuts, steps, painful techniques are allowed. The fight continues even if one of the opponents is knocked to the ground. The main idea is that a sports fight should resemble a real fight as much as possible.

Fudokan - a style of karate created in 1980 by the Yugoslav master Ilya Iorga. Iorga created the Fudokan out of dissatisfaction with the conventional nature of non-contact bouts. Yorga emphasizes that Fudokan is a traditional karate in which kihon, kata and kumite play an equally important role. In duels, victory with one decisive blow is most valued (in accordance with the old principle of "ikken hissatsu - one blow on the spot").

Shotokan-ryu - a style of Japanese karate, widely known throughout the world, created in the 30s. 20th century master Funakoshi Gichin and his son Yoshitaka; the essence lies in the transformation of karate from the art of brutal hand-to-hand combat into a means of physical and spiritual education of young people, maintaining the optimal “form” of people of mature and old age, that is, turning the art of combat into paramilitary gymnastics.

At present, karate is a fairly wide and varied range of schools and styles. With the obvious unity of the basic technique, the differences between schools and styles of karate come down to the nature of the initial stances, the setting of one or another strike, the degree of use of the hips during the strike and escape, the method of maneuvering, the number of jumps and the sound of the battle cry (kiai). Differences also exist in the volume and complexity of examination programs, the rigidity of examination requirements. In addition, some schools and styles that advocate the value of sport karate promote non-contact sparring, limited contact sparring, or sparring with protective gear.

The tactics of various schools and styles of karate are basically the same and come down to the use of combinations of strikes and blocks in combination with sweeps and throws. For throws, the most commonly used is a painful grip of the hand in the wrist or elbow, a back trip with a frontal strike, throwing over the knee with a squat, etc. hips after a series of preparatory blows and even a throw through the thigh with a twist, characteristic of judo.

The teaching methodology in different schools of karate is essentially the same. The first stage is setting up the basic technique (kihon), laying the foundations of correct movements: strikes, blocks, racks, transitions, maneuvering. At the same stage, the foundations of the spiritual and moral-volitional training of students are laid. The second stage is learning combinations (renzoku-waza) of several elementary techniques with a final blow or throw and mastering formal exercises (kata). At this stage, active spiritual growth is expected, contributing to the achievement of perfection. The third stage is the participation of those involved in free fights, their individual style is developed and their skills are honed. An important place at this stage is occupied by psychological preparation. The fourth stage is improvement in military-applied aspects and in the spiritual sphere. Starting from this stage, for the majority of those who go in for karate, it is already the main profession, the meaning of their whole life, and they themselves become carriers of spiritual wisdom and karate mastery.

This text is an introductory piece. From the author's book

Fundamentals of the boxing teaching methodology The need for boxing training not only to master the technique of techniques, but also to develop a wide range of special motor qualities and tactical abilities significantly complicates the learning process and requires compliance

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Chapter 4. Techniques and tactics of defense against chokeholds and receptions Techniques and tactics of defense against chokeholds are used in order to prevent the opponent from performing a hold that allows him to proceed to the performance of the actual choke. The task can be divided

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Wushu Structure: Schools and Styles The school and style are the core around which the entire system of Chinese Wushu has been built for centuries. Today, these are also key structures for the martial arts of other countries of East Asia, where the “school-style” system came from China. Together with

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Chapter 1. General principles of the method of teaching hand-to-hand combat Basic-bush method of teaching hand-to-hand combatHistorically established systems of sports and martial arts orient students, as a rule, to a certain way of fighting: karate and boxing - application

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Chapter 2 Hand-to-Hand Fighting Techniques and Training Methods Special Warm-up Exercises The flexibility of the human body is determined by the degree of mobility in the joints. Human movements can be divided into active and passive depending on the degree

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7. Techniques and Styles of Karate Karate is a martial art that rationally uses everything that is available to the human body for the purpose of self-defense. Modern styles are dominated by strikes and blocks. In traditional, along with them, captures, dislocations, throws, strangulations,

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9.1. General principles of teaching methodology in the types of wrestling (The basis of the paragraph is the material from the textbook "Wrestling", 1978) If we consider training not only from the point of view of mastering the technique of any movement, but also from the standpoint of teaching all systems

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Section II Karate Technique, Tactics and Strategy Competitions and the victories and defeats associated with them are not true budo. The real victory is the victory over yourself! Morihei Ueshiba Speaking about the technique, tactics and strategy of karate, one should always remember that the basis of karate

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Chapter 18 Karate Tactics Fly like a whirlwind from the mountains, Having struck, immediately retreat, With a sharp exhalation, strike with your hand, You can add a cry to the exhalation Move swiftly, like a dragon, One moment will decide victory or defeat. From the treatise of the Shaolin Monastery Karate Tactics -

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Section III Methods of training and education by means of karate Just as the polished surface of a mirror reflects everything that stands in front of it, and a quiet gorge keeps even rustles inside, so the practitioner of karate-do must make his mind empty of selfishness and pride in order to

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Chapter 21 Pedagogical principles and methods of teaching karate The most important thing is the regularity of classes. There is no other way to master this or that art of combat. Day after day, month after month, year after year - the same gym, the same people, the same exercises. There are times when

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Section IV Schools and styles of karate. Patriarchs and outstanding masters of karate To the mountains! Everyone wants to climb As high as possible And no one wants to come down To look into their heart. Jun Takami, Japanese poet As already noted, karate is a martial art, rational

From the author's book

Chapter 28 Schools and Styles of Karate Differences in styles stem from what is emphasized. For example, on what technique - hard or soft (ju), straight or circular - is the core of the school. In addition, the techniques of the schools differ in their emphasis on destructive

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Chapter 10. Sequence of Actions and Combat Tactics Technique, Tactics and Requirements for a Skillful Combat It should never be forgotten that all movements of tai chi quan have a martial orientation. Martial arts and sports It is difficult to enumerate all the possible ways

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Chapter 16. Wu Style of the Wu Yu Shian School of Combat Techniques of the Form Proper execution of external techniques or following the eight principles of “body technique” contributes to the improvement of internal strength. External form for internal strength At first glance, the above

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Topic 1 Fundamentals of teaching methods Characteristics of motor skills. GROM assault combat training is a process of mastering a whole system of motor skills and a wide range of specialized qualities and skills. Motor skills in assault combat

Does your child know how to achieve success in life? How to improve school performance? How to protect yourself from drugs? How to develop physically and spiritually to make the most of your abilities?

Children who attend our classes are simply destined to achieve success in life, because from an early age we teach them such concepts as PURPOSE, DETERMINATION, DISCIPLINE, RESPECT, PERSISTENCE, and RESISTANCE. And most importantly, the character traits that your children will acquire as a result of our classes will help them for the rest of their lives!

Dear Parents:

Parents always want the best for their children, but how do you prepare them for the challenges they face in today's world? What are you doing to motivate the child, accustom him to discipline and proper attitude to any business? But this is the most necessary thing for achieving success in life. It is not easy to teach all this to a child, because this kind of education is not given in our schools. The street will not give such knowledge. And to our shame, the old ones have been destroyed, but new public organizations have not appeared, which are called upon to unite our children and prepare them for the future life. In fact, this is simply a crime, since teaching children from an early age skills such as the ability to set a goal and then strive to achieve it, developing character traits such as self-confidence and self-esteem from a young age, will have the greatest impact on a child's achievement in later life.

Over the years, we have seen hundreds of children who have recovered
benefit from our activities.

• Overweight kids who have lost a couple of pounds with self-discipline and exercise, and in return have gained self-confidence and self-respect.
• Smart kids who didn’t get bored in school, but we taught them to set new goals and achieve even more.
• Unbridled children who have learned to focus and direct their energy in the right direction.
• And the introverted, shy kids we managed to get out of their shells.

All of these children and hundreds of others who attended our school through our unique program have laid the foundation for future success in life. Just as it is impossible to forget how to swim and ride a bicycle, the skills to achieve success once invested in a child will forever remain with him. And the fruits of this knowledge will be reaped by them for the rest of their lives. A life filled with joy and pride in your accomplishments, backed by good health and well-being. Where will your children be taught such wonderful things?

The answer to this question is our special program called "Towards Leadership And Life Skills Through Karate" which is taught at our Karate school. As a father of a child myself, I feel that I have a huge responsibility to ensure that my child becomes self-confident, persistent and disciplined, which will lead him to success in school, in sports and in life.

Through our unique Karate School program, which includes body and mind development, wellness and lots of fun, your child will acquire all the key character traits necessary to succeed in life. And while the more traditional aspects of martial arts, such as self-defense and self-defence, are certainly important in today's world, perhaps the most important aspect of our program is not so much its physical part as it is spiritual.

Our Towards Leadership & Life Skills Through Karate program will develop in your child the basic traits necessary for success and happiness in the future, namely:

• The self-confidence and self-esteem to raise your hand in class and ask questions and thus learn when others are shy.
• We will teach your child how to make an effort and be persistent in achieving a goal. Our students say “I CAN” when faced with a new problem or difficulty instead of saying “I CAN'T”
• We teach children the importance of pursuing knowledge and teach them the most important skill they need to be successful: goal setting.
• Studying with us, your child will learn to focus, concentrate, he will become more disciplined, which will help him improve his grades at school.
• Classes at the Karate school will help your child develop physically. Our program develops mobility, endurance and strength in children. They improve coordination, balance and reaction, and as a result, the child manifests himself better in a wide variety of activities.
• In conclusion, I will say that we are trying to interest the child, develop a desire in him, teach him to focus on the goal, and this is the most important thing for success not only in school, but also outside it.

Perhaps the most terrifying problem for parents today is the thought that their child may be affected by drugs. Children begin taking drugs at an increasingly young age. These children are mostly from wealthy families. And the number of such children is amazing. At our karate school, programs are designed to develop a child's self-confidence and self-esteem, which will give him the courage to say NO to all bad suggestions and resist peer pressure. Recent studies have shown that activities that focus on personal achievement, which is what martial arts are, are much more effective in combating this problem than any other activity.

Our classes will teach your child to notice and avoid danger.

There is another reason for attending our school… Unfortunately, we live in a world full of bad people. Karate School will teach your child how to see and avoid danger. What to do in an emergency, how to provide first aid and, if necessary, how to protect yourself from danger. These invaluable skills will not only boost a child's self-confidence, but may even save their life. And the best part about our program is that classes and learning are FUN and JOY.

Our Karate school is the only place where the environment itself makes classes interesting, varied and fun!

The environment in the hall will help your child develop physically, spiritually and socially. Due to the fact that your child will be surrounded by other children with similar goals and aspirations, he will make real friends and join a healthy team.

Personal attention to each child and
pedagogical skill of instructors is the basis
training in our karate school.

Remember what Tigger said in Winnie the Pooh: “The most wonderful thing about tigers is that I am the one and only tiger!” It is this special attention to the unique personality and needs of each child that sets the instructors at our Karate school apart from all others. Everyone in our school is given personal attention, and the basis of all this is the pedagogical skill of the instructors. Keeping all this in mind, it is not surprising that the guys studying at our school confidently go through life and succeed in everything!

Let not only our words convince you of this.Just listen to what other parents have to say about our Karate school program.

Hundreds of parents have already experienced the positive impact of our classes on their children. AND The best way for you to get acquainted with our program is to experience it for yourself.

Having embarked on the path of self-improvement, you must clearly realize that achieving the most insignificant result will require you to concentrate your spiritual and physical strength, and, of course, a lot of time.

The formation of the most superficial idea of ​​the school takes about one month. Indeed, in 3-4 trainings it is impossible to get acquainted with those sections of Karate that will be studied, it is impossible to test different methods and types of the training process, to get acquainted with those who are engaged with you in the same group. And, of course, it is impossible to get an idea of ​​our Federation, to be imbued with its traditions and learn about its glorious history. If, however, set a goal to enter into a friendly family of students of Kyokushinkai Karate, then measuring time in weeks or even months does not make sense.

The entire methodology, tested by 12 years of work of our Federation, consists of monthly, semi-annual and annual training cycles. The leadership of the Federation believes that this particular technique is exactly the foundation on which it has been possible to bring up more than one generation of champions not only in sports, but also in life.