Nami-ashi (inside snap block). Although this technique may be executed from any one of a number of stances, including the forward and diagonal straddle stance, it is best practised basically from the straddle stance. From this stance, simply kick the sole of the foot inward and upward in front of the body, using the hip muscles to give the movement its snap. This is a very




technique: only the blocking leg is moved and the body weight should not be shifted. It is useful either to parry an attack to the groin or to move a leg out of range of a stamping kick.

Foot Techniques

(Defence)

Blocking with the feet has the great advantage of leaving the hands free. However, it does leave one momentarily on one leg and so the balance must be very secure. Here are two of the most common defensive uses of the feet.

Mikazuki-geri-uke (crescent kick block). The striking surface here is the sole of the foot. Bend the leg slightly at the knee, raise it, then swing it with a swivel-like movement of the hips to focus on the oncoming attack in front of the body. At the moment of impact the knee should still be bent slightly, and the toes should be pointing straight upward. Finally, withdraw the leg as at the completion of the front kick and resume a strong position in order to counter.
(Alternatively, after withdrawing from the block you may use the same foot for a thrust kick without first returning it to the ground.)

Once again,

it is most important not to bend the body too far away from the kick. It is also important with the roundhouse kick not to let the hips swing around too far, as this jeopardizes the balance and makes focusing the kick difficult.

Fumicomi (stamping kick). Can be used to the front, rear, or sides, and is useful for attacking an opponent's knee, shin or instep. In all cases the knee is first pulled toward the chest and the foot then thrust downward in a straight line to the target. In stamping to the front, or the rear, the heel is the usual striking surface. To the sides, use the side edge of the foot.

Mawashi-geri

(roundhouse kick). The swing of the hips through something like ninety degrees in co-ordination with the snap of the knee make this a powerful technique.

Bend the knee of the kicking leg and raise it to the side. The knee points diagonally sideward and the foot is near the buttock with the toes and ankle bent well back. Then swing the hips and snap the knee forward, striking the target with the ball of the foot directly in front of the body. Snap the leg back to the preparatory position before resuming the original stance or moving into a new stance.

The preparatory position for both kicks is more or less as for the front kick, with the knee raised toward the chest and the foot bent upward. The supporting leg must be slightly more bent. Then, for the back snap kick sharply swing the thigh to the rear and snapping the knee strike the target with the heel. The target is usually the groin or the stomach. For the back thrust kick, push the heel to the target in a straight line, the target in this case being the stomach, solar plexus or face. In both cases, keep your eyes on the target and avoid leaning too far forward. Also, in order to kick with maximum power, be sure to kick straight to the rear and not diagonally.

Both forms

of side kick can be performed from any stance, but when attacking to the side the straddle is most commonly used. To give an example, if one is in the straddle stance and the opponent is to one's right, cross the left foot in front of the right, quickly raise the right knee, the right foot passing behind the left knee, then kick (with either the snap or the thrust kick), pulling back the foot before moving it to the right again to take up the straddle stance a double- step further in the direction of the opponent.

Ushiro-geri (back kick). Here the striking surface is the heel. Tehre are again two independent forms - the snap and thrust kicks.

Yoko-geri

(side kick). This technique uses the edge of the foot toward the heel as the striking surface. Actually, there are two side kicks. For the snap kick, raise the knee and point it diagonally sideways toward the target. Then snap the foot upward toward the target from a position close to the other knee. At impact, the hip is twisted sharply inward and the knee of the
'kicking leg' should point directly forward. For the thrust kick, raise the knee straight in front as for the start of the front kick, and then push the foot sideways toward the target. Whereas in the snap kick the foot travels in an arc, here it travels in a straight line. With both kicks, avoid bending the body too far in the opposite direction as this weakens the balance and also the strength of the attack.

Yoko-geri

(side kick). This technique uses the edge of the foot toward the heel as the striking surface. Actually, there are two side kicks. For the snap kick, raise the knee and point it diagonally sideways toward the target. Then snap the foot upward toward the target from a position close to the other knee. At impact, the hip is twisted sharply inward and the knee of the
'kicking leg' should point directly forward. For the thrust kick, raise the knee straight in front as for the start of the front kick, and then push the foot sideways toward the target. Whereas in the snap kick the foot travels in an arc, here it travels in a straight line. With both kicks, avoid bending the body too far in the opposite direction as this weakens the balance and also the strength of the attack.

It is also of primary

importance that the kicking leg should be withdrawn sharply (but smoothly) immediately after impact. The opponent will then have no chance to catch hold of it, and a strong stance can be resumed in preparation for the next manoeuvre.

Mae-geri (front kick). The usual striking surface is the ball of the foot. Pulling the toes back makes the ball of the foot more prominent and also prevents the toes from being damaged. Start the kick by pulling up the knee and then snap the lower leg and foot toward the target. Pull back the foot with the knee still held high and finally lower to resume the original stance or to move into the next stance. While performing this kick avoid the common mistake of raising the shoulders, pushing the head forward and buttocks backward. The hips should be pushed forward behind the attack.

Foot Techniques

(Attack)

Without training, it is really more difficult than one might suppose to damage an opponent by kicking him - unless, of course, he's already lying on the ground. However, in karate the feet are so thoroughly trained that their use about doubles the scope and effectiveness of one's fighting repertoire.

With all kicks, take great care that the supporting leg is firmly planted. It must be capable of bearing the weight of the body, plus the momentum and shock of the attack, without loss of balance. The knee should be bent. The foot should be flat on the ground.

The hand begins

from the same position as the fist in the downward sweep, palm facing the ear. Cut downward with the forearm and finish with the palm facing diagonally forward, the hand and elbow in line with the shoulder and the hand more or less level with the shoulder. Simultaneously with this parry, the other hand is pulled from a position straight in front of the body, palm downward, to the middle of the chest, palm upward. This technique is commonly used while retreating and is conveniently executed from the back stance.

As with the attacking techniques in Chapter 8, it is most important with all these hand techniques that the shoulders be pulled down and the 'fixation' muscles of the chest and back strongly tensed at the moment of focus.

Note that like the three preceding parries this one is very strong against attacks from the front, and so is usually performed from a forward or diagonal straddle stance. Sometimes, however, these parries (with the exception of the rising block) may be used to the side in the straddle stance.

Shuto-uke (knife-hand block). Once mastered, this is a very fast parry, and one moreover that leaves one in a good position for the counter attack. It is used chiefly against attacks to the solar plexus.

At the finish,

the arm is in precisely the same position as in the outer block. However, it begins with the fist palm downward at the ready position on the opposite side of the body and the striking surface is the inside edge of the forearm.

Gedan-barai (downward sweep). Another strong defensive technique, useful against attacks to the solar plexus, stomach or groin (gedan), and particularly employed against kicks.

The fist is carried to a point near the opposite ear, palm facing the ear, then swung diagonally downward. At the finish, the arm is extended in front of the body and the fist twisted palm downward. Strike the attacking arm or leg with the outside edge of the forearm and to avoid damage to the wrist be sure to clench the fist as tightly as possible.

Soto-uke (outside forearm block), a parry capable of inflicting considerable damage. It is usually used against attack to the solar plexus (chudan).

With the elbow bent, swing the fist from above the shoulder down in front of the body. Focus strongly, snapping the fist so that the palm faces toward you. At this point, the fist should be about level with the shoulder and the elbow in front of the body (not to the side). The same striking surface is used as in the rising block.




plexus.



Uchi-uke (inside forearm block). This technique is also used to parry attacks to the solar

Hand Techniques

(Defence)



Age-uke (rising block). Usually used to parry an attack to the face (jodan).

This block begins with the fist palm upward just above the waist. At the finish, the fist is at a point approximately twelve inches in front of and six inches above the opposite ear. At the last moment the fist is flicked over so that the palm faces away from you and the opponent's attacking arm is struck by the outer edge of the forearm near the wrist. Simultaneously, the other hand is withdrawn from a point somewhere in front of the face to the usual ready position. It is important that the elbow of the parrying arm should be lower than the fist at the moment of impact.

Hand Techniques

(Defence)



Age-uke (rising block). Usually used to parry an attack to the face (jodan).

This block begins with the fist palm upward just above the waist. At the finish, the fist is at a point approximately twelve inches in front of and six inches above the opposite ear. At the last moment the fist is flicked over so that the palm faces away from you and the opponent's attacking arm is struck by the outer edge of the forearm near the wrist. Simultaneously, the other hand is withdrawn from a point somewhere in front of the face to the usual ready position. It is important that the elbow of the parrying arm should be lower than the fist at the moment of impact.

As in the attacking

techniques, many of the parries used in karate are 'focused'. That is to say, one's entire strength is concentrated at the point and the moment of impact, after which the muscles are immediately relaxed. As a result, pain or even injury may be inflicted with the parry alone, and the opponent sufficiently discouraged from attempting any further attack.

When parrying, however, you should always have a counterattack ready to follow up with. Be sure that you maintain a good posture and balance and try always to take advantage of your opponent's momentum and strength to upset his balance and posture.

Elbow attacks

are very powerful and often used for close-quarters fighting. Be careful to avoid raising the shoulder on the attacking side as this weakens the 'focus'.

Shuto-uchi (knife-hand strike). When using the 'knife-hand' or little-finger edge of the hand the palm should be stretched open at impact, the root of the thumb pulling outward but the thumb itself bent inward (so as not to get caught in any loose clothing and possibly injured).

Begin the outside strike with the attacking hand palm upward and close to the ear. The elbow is pointing sideways. At impact, the arm is more or less straight in front of the body and the wrist is twisted so that the palm is facing upward. For the inside strike raise the hand to the opposite ear, palm facing the ear. Swing the hand inward in a wide arc and at impact twist the wrist so that the palm faces downward.