MetodologíaIntegral“Karate-Kata” CompleteKarate ... · MetodologíaIntegral“Karate-Kata ... Kata: becasueitisbasedontheKata. Methodology: becauseitisamethod,withrules,procedures,orderingandlogic

Evolución del movimiento técnico al movimiento intuitivo a través del KataThe evolution from technical movement to intuitive movement using the Kata

José Ramón Álvarez Ruiz-Huidobro

Metodología Integral “Karate-Kata”

Desarrollo didáctico y metodológico de los Kata HeianThe didactic and methodological development of the Heian Kata

Complete Karate-Kata Methodology

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When I was a boy, I could see a large mountain in the distance from my bedroom window.I was attracted to it for its majesty, beauty and the wild and rugged spirit that emanated from it, as itdoes from any living force of nature. By some strange twist of fate I am now living on that mountainthat so attracted me as a boy. In martial arts, perhaps something similar occurs. There is somethingspiritual and magical that impels us to determindly follow those desires and interests that, at first, leadus to its practice, and later, to its study and teaching in order to finally acheive the aims we dreamedof and use these as another starting point for new adventures in the field of knowledge.

José Ramón Álvarez Ruiz-Huidobro

José Ramón Álvarez Ruiz-Huidobro was born on 29 November, 1957 into a humble family. His father, fromDoade in the municipality of Sober (Lugo, Galicia), was the youngest son of a peasant family. He emigrated to thecity, fleeing from the hard life of the country in order to forge a better future (as did the majority of that generation).His mother, from Madrid, was born in the Reina Victoria underground station during one of the bombardments thatthe city was subjected to during the civil war. Ramón and Adela met in Burgos. They married there and from thisunion were born the author and his brother Guillermo with whom he shared the love of his parents and the excite-ment, fantasies, mischief and worries of childhood and adoloscence. At the age of three, the family moved to As-turias, where they settled pemanently.

When he turned 16 he started to practise Karate, up until then a practically unknown discipline and onethat his parents accepted, although not without certain reservations: studies came first, everything else was se-condary.

At the age of 19 he started work as an employee of a state communications company, combining this atall times with the practice, and then teaching, of Karate do.

However, after a time he left his job and dedicated himself exclusively to Karate do and to his school, lo-cated in El Entrego (muncipality of San Martín del Rey Aurelio), which grew progressively and demanded all his timeand attention.

He has now been practising Karate do since 1973, and since 1983 has been dedicated to teaching and tocontinuous study and personal development.

His professional career has evolved within the ambit of traditional Karate do. He has dedicated himself ex-clusively to the training of karatekas and to the research and development of new work methods. This is a resultof his particular way of understanding and practising Karate do and the influence of the masters he has followed.

Such is the case that he has summarised his personal experience in this book. Picking up from where themasters left off and finding inspiration in the spirit and way of thinking of some of them (especially in Master TaijiKase’s idea of Karate do) he presents us with an innovative work based on the technical structure of the HeianKata. He has also been influenced by Master Antonio Olivio Seba, from whom he has learnt tactics and who incul-cated in him an interest for research and the development of new methods; and by Master Marceliano Gómez Mar-tínez, who has complemented and improved his training in the area of traditional Karate.

His aim is no other than to inspire and motivate all Karate do students, independent of their grading or ifthey teach or not, since he states that authentic Karate do is at its lowest ebb due to the excessive focus given toits sporting-competitive aspect.

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Preface

COMPLETE KARATE-KATA METHODOLOGY

BY

JOSÉ RAMÓN ÁLVAREZ RUIZ-HUIDOBRO

- FOREWORD -

The first impression received on having this book in one’s hands is curiosity.

At first, the title demands to be read two or three times in order to understand the message that it wants to convey.The cover, thanks to its artistic design, also demands special attention, until you see the karatekas in action of which it iscomposed. And, furthermore, the volume of the book is impressive since it is a bilingual work (Spanish-English) and is enri-ched with a comprehensive and meticulous graphic work. Looking at the author, we find that, though being a man of deeply-rooted principles and painstaking knowledge, he is completely unknown to the general public, perhaps as a consequence ofhis earnest desire to live away from the noise of the world. All this means that, at first sight, this work may seem ambiguousand lacking in interest for the new reader.

When we open the book our curiosity is inflamed and our interest grows due to the fact that the richness of the con-tents added to the expository clarity of the diagrams and drawings invites a scrutiny of the work. After a first reading of thecontents page we can see that it is a careful and original work which is loyal to the martial nature of our art, which makes ithighly attractive to the eyes of the Karate-Do specialist. If we go a little further and carefully read any of its chapters, wealso see that its contents are treated with great scientific rigor since they are approached with large doses of critical thoughtand common sense. In other words, we have before us a work that brings great blasts of fresh air to the daily practice of anykarateka, enriching this practice with ideas and perspectives that, at the beginning are still the very personal ones of the au-thor, invite the reader to embark upon the great adventure of training, training and training while always going beyond theestablished models and routines. Little by little, subtly and wisely, adaptation and intuition become common tools of the ka-rateka, off the tatami as well as on it. Curiously, at this point, the author’s philosophy is related to that of Master Funakoshiwho tells us that “there is no first attack in Karate-Do”, or, similarly “that every initial action will always be defensive”. It isfor this reason that intuition is an active and vital part of the advanced levels of Karate-Do practice, revealing the opponent’sthoughts at the moment in which they are conceived, and so giving us the keys to an immediate and decisive response. Inorder to better understand what the author wishes to tell us with his painstaking work, it is essential to thoroughly study ourhistory.

The practice of Karate in Spain began in the mid-1960s. It was shaped throughout the 70s and was consolidated atthe end of the 80s, entering the 90s with a firm step. It burst into the new millennium demanding of the authorities of thattime the right to be included as an Olympic sport, a right which I believe will be granted in the future. There are many menand women who, from all corners of the country, have contributed, and still contribute, so that Spanish Karate shines withits own light at an international level as well as a national one. José Ramón Alvárez Ruiz-Huidobro, 53 years old, 6th Dan Ka-rate Black Belt and author of this book, is a karateka trained between the 1970s and the 1990s. This was a time of uncertaintyand great political importance in which the sport in Spain, directed by D. José María Cagigal from the INEF [Department ofthe Science of Physical Activity and Sport] at the Universidad Politécnica in Madrid, fought to gain respect from both withinand without our borders.

He started with Masters Iromichi Kohata (1976-1978) and José Luis Prieto (1982-1984) in the Gensey Ryi style, andthen continued his training in Karate Shotokan with Masters Manuel Joaquín and Javier Fernández Vázquez (1986-1993) andMarceliano Gómez Martínez (1998-2011). In turn he has trained in courses with Masters Osaka, Aoki, Kanazawa, Kawazoe,Shirai, Kasuya, Hiruma, Luis Méndez, Chus García, Isamu Fujita, Ramón Cid, Benjamin Martínez (Kobudo), Joaquín Muñiz (Taijitsu), Ishimi, Antonio Oliva (tactics in combat) and Taiji Kase.

My first contact with José Ramón goes back to the early 90s when, at his request, I gave the first Shiai-Kumitecourses in different towns in the Nalón valley (Asturias, Spain). His eagerness to know the profound “why” and “for what re-ason” of the techniques that we put into practice during our training led us to long debates and continued beyond the tatami.Fortunately, at that time, the tactical concepts that I used had very strong foundations and allowed me to clear up any doubtshe lay before me. Since I wanted José Ramón to continue opening up new fields of knowledge and martial practice, and ashe showed himself to be dissatisfied with certain teaching methods in Karate at that time, I remember that I said to him “welltake up a pen and paper and give expression to what you are thinking”. And that is how this work was born. This apparentlyinsignificant act took place on the 19th and 20th June 1999 at a course that I gave in Burela (Lugo, Spain) and which JoséRamón saw fit to take part in very actively.

Twelve long years have passed between that meeting in Burela and my writing these lines in Madrid on 20th March2011, with José Ramón also present here. It is more than sufficient time for the experience of José Ramón to have, unhurriedlyand wisely, taken shape on paper.

Therefore, you have in your hands, dear reader, a work that cost much sweat and tribulations before being publis-hed.

Read, enjoy, and take as much from it as you can.

ANTONIO OLIVA SEBA8th Dan Black Belt, W.K.F.Ex-Technical Director of the R.F.E.K.Internacional Coach

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The autor wished to christen this work Complete Karate-Kata Methodology.

Complete: because it is made up of, or brings together, all the aspects and work forms inherent in Karate.

Karate: becasue it is the disciple being developed.

Kata: becasue it is based on the Kata.

Methodology: because it is a method, with rules, procedures, ordering and logic.

In this method, information is decoded using the Kata, it is not about teaching the Kata, we presume that thistask has already been completed.

The aim of this text is to offer a developed, ordered, progressive and reasoned method in order to managewith greater versatility and effectiveness the gestural selection of techniques possessed, to a greater or lesser extent,by the karateka. This is because we believe that although(aunque) the majority of karatekas practise Kata, there existsa great difficulty in applying these techniques in a different context to that which is practised in work such as kihon ku-nite or bunkai. In other words, when we go from agreed work, in which there is coloaboration, to unagreed work, inwhich the attacker does not collaborate.

Contributing a new viewpoint, this study starts with the simplest technical gesture and concludes with adap-tation, and then intuitive work. The pupil is able to improvise defensive as well as counter-attack responses when facedwith different attacks and situations created by the attacker, who is not limited to the techniques normally used in thekumite.

This publication, which contains more than 4,000 diagrams, is presented as a practical and innovative manualof great interest for teachers as well as students. It includes a text, in English as well as Spanish which considers Karateliterature. Its content has been put together with rigor and depth over twelve years of continuous work and investiga-tion.

We are fully confident that it will be a reference work and will contribute to further improve, if it ispossible, the diffusion and understanding of Karate do.

Karate do nisente nashi - There in no first attack in Karate

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Complete Karate-Kata Methodology - Description and Foundation___________________________________________________________________________________

1. Justification2. Introduction3. Historical Argument4. Generic Definitions5. Concepts and theories6. Tools to use for the formalisation of the study7. Organisation and Description

7.1. Formal structured work7.2. Structured adaptation work

8. Conclusions9. Tree Diagram

Heian Shodan didactic unit (example of structure)___________________________________________________________________________________

1. General outline2. Views from other angles3. Embusen4. Aerial view5. Analytical sheet6. Technique nomenclature7. Conceptual table8. Kihon development

8.1. Sei te work method8.2. Hen te work method8.3. Work table8.4. Examples show in the work table

9. Kihon kumite development9.1. Kiihon ippon kumite preparation9.2. Jiju ippon kumite

10. Complete development of the Kamae Tetsui Uchi10.1. Study and practice method10.2. Tactical models

11. Progression method for the Kamae Tetsui Uchi adaptation work11.1. Study and practice method11.2. Explanation of the exercises

12. Complete development of the Kamae Shuto Uke12.1. Study and practice method12.2. Tactical models

13. Progression method for the Kamae Shuto Uke adaptation work13.1. Study and practice method13.2. Explanation of the exercises

14. Complete technique analysis and interpretation14.1. Gedan barai14.2. Oi tsuki14.3. Tetsui uchi14.4 Age uke14.5. Shuto uke

15. Kata Goshin do15.1. Self-defence

16. Gokugi Kata16.1 Concepts in the Kata applicable to the kumite

This text contains seven teaching units



5 4 3

6 7-A

8-A 7-B

8-B9-A

9-B

11 10

12 13

17

16

15

14

21 20

18 19

YAME YOI

YOI 1 2

H. Shodan Esquema generalGeneral outline

1. ESQUEMA GENERAL / 1. GENERAL OUTLINE

82



.H. Shodan Nomenclatura de las técnicas y cuadro conceptual

Technique nomenclature and conceptual framework

6. NOMENCLATURA DE LAS TÉCNICAS / 6. TECHNIQUE NOMENCALTURE

Movimientos / Movements Nombre / Name

1, 3, 6, 10, 12, 14 Gedan barai

2, 5, 11, 13, 15, 16, 17 Chudan oi tsuki

4 Tetsui uchi

7-A, 8-A, 9-A Age shuto

7-B, 8-B, 9-B Age uke

18, 19, 20, 21 Shuto uke

7. CUADRO CONCEPTUAL

Conceptos Movimientos Aplicable a kumite Aplicable a Goshin

Tai sabaki 19, 21 SI SIHen te 3 → 4, 6 → 7, 14 → 15 SI SIShikake 3 → 4, 14 → 15 SI SISasoi 3 SI SINage waza 9 → 10, 14 → 15 SI SIKansetsu waza 7-B, 8-B, 9-B SITeodoki 1, 4, 7, 8, 9, 18 SIShime waza 8-B, 9-B SIKiri kaeshiKo wazaSen no sen 6, 14 SI SIA te waza 7-B, 8-B, 9-B SIHazushi waza 7-B, 8-B, 9-B, 18, 19, 20, 21 SI

7. CONCEPTUAL FRAMEWORK

Concepts Movements Applicable to kumite Applicable to Goshin

Tai sabaki 19, 21 YES YESHen te 3 → 4, 6 → 7, 14 → 15 YES YESShikake 3 → 4, 14 → 15 YES YESSasoi 3 YES YESNage waza 9 → 10, 14 → 15 YES YESKansetsu waza 7-B, 8-B, 9-B YESTeodoki 1, 4, 7, 8, 9, 18 YESShime waza 8-B, 9-B YESKiri kaeshiKo wazaSen no sen 6, 14 YES YESA te waza 7-B, 8-B, 9-B YESHazushi waza 7-B, 8-B, 9-B, 18, 19, 20, 21 YES

87



8.3. CUADRO DE TRABAJO DESTINADO A LA ELABORACIÓN DE EJERCICOS DE KIHON

92

H. Shodan Desarrollo del kihonKihon development

3 Técnicas

4 Técnicas

2 Técnicas

Giro F-1

Giro D

Giro D-1

Yori ashi

Sugi ashi

Mixto

De ashi

Retroceso

Avance

Diagonal

Combinaciones

Giros

Desplazamientos

Dinámico

Semiestático

AdelanteAtrás

X

X

IzquierdaDerecha

X

X

X

X

Kokutsu dachi

Kiba dachi

Zenkutsu dachi

Estático

X

X

X

Keri waza

Keri waza

Ataquesindirectos

Ataques directos

Defensas

X

X

X

X

Fecha

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3 Techniques

4 Techniques

2 Techniques

Turn F-1

Turn D

Turn D-1

Yori ashi

Sugi ashi

Mixed

De ashi

Going backward

Advancing

Diagonal

Combinations

Turns

Steps

Dynamic

Semistatic

ForwardBackward

X

X

LeftRight

X

X

X

X

Kokutsu dachi

Kiba dachi

Zenkutsu dachi

Static

X

X

X

Keri waza

93

Keri waza

Indirect attacks

Direct attacks

Defences

X

X

X

X

8.3. WORK TABLE FOR THE PREPARATION OF KIHON EXERCISES

H. Shodan Desarrollo del kihonKihon development

Date

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EJEMPLO A-2

Ataques del oponente Mae gueri de derechaNº de acciones propias 3Tipo de trabajo Hen te, sei teUbicación Interior

Acción Lateralidad Gesto técnico1 Defensa Izquierda Gedan barai2 Contraataque Izquierda Jodan tetsui uchi3 Contraataque Derecha Giaku tsuki

EXAMPLE A-2

Opponent’s attacks Right mae gueriNº of individual actions 3Type of work Hen te, sei teLocation Inside

Action Side Technical gesture1 Defence Left Gedan barai2 Counter-attack Left Jodan tetsui uchi3 Counter-attack Right Giaku tsuki

APLICACIÓN / APPLICATION

1 2 3

99

H. Shodan Desarrollo integral del Kamae Tetsui UchiComplete development of the Kamae Tetsui Uchi

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11.2. EXPOSICIÓN DE LOS EJERCICIOS

EJERCICIO Nº 1

Ataques del oponente Gedan tsuki de izquierdaNº de acciones propias 2Tipo de trabajo Hen te

Acción Lateralidad Gesto técnico1 Defensa Izquierda Gedan uchi barai2 Contraataque Izquierda Jodan tetsui uchi

11.2. EXPLANATION OF THE EXERCICES

EXERCISE Nº 1

Opponent’s attacks Left gedan tsukiNº of individual actions 2Type of work Hen te

Action Side Technical gesture1 Defence Left Gedan uchi barai2 Counter-attack Left Jodan tetsui uchi

LATERALIDAD OPUESTA / OPPOSITE SIDE

1 2

1 2

108

H. Shodan Método de progresión para el trabajo de adaptación del Kamae Tetsui UchiProgression method for the Kamae Tetsui Uchi adaptation work



1 2


12.2. MODELOS TÁCTICOS

MODELO A

EJEMPLO A-1

Ataques del oponente Oi tsuki de derechaNº de acciones propias 2Tipo de trabajo Sei teUbicación Interior

Acción Lateralidad Gesto técnico1 Defensa Izquierda Shuto uke2 Contraataque Derecha Hikite como nukite

12.2. TACTICAL MODELS

MODEL A

EXAMPLE A-1

Opponent’s attacks Right oi tsukiNº of individual actions 2Type of work Sei teLocation Inside

Action Side Technical gesture1 Defence Left Shuto uke2 Counter-attack Right Hikite as nukite

114

H. Shodan Desarrollo integral del Kamae Shuto UkeComplete development of the Kamae Shuto Uke



13. PROGRESSION METHOD FOR THE KAMAE SHUTO UKE ADAPTATION WORK

13.1. STUDY AND PRACTICE METHOD

Conditioning phase

The different methods established will be practised from the hachiji dachi (sizen tai) position as shown in the graphicswith the aim of acquiring the necessary motor skills and internalising the different response possibilities when faced with thedifferent stimuli proposed, respecting the sides and order of the exercises shown.

Free adaptation phase

Once the previous phase has been practised and mastered, each person will practise adopting the position and sidethat they freely choose.

The attacker (tori) will perform their attacks in a completely free way and without any previous agreement. Logically,within this freedom they will perform those attacks that conform to the defensive gestures that each of the kamae aims todevelop. They should not limit themselves to oi tsuki as is exemplified in the different tactical models, but rather also con-template circular attacks with the fist or leg, holds before the attack, to the lapels, wrists, etc.

The defender (UKE) will randomly employ any of the methods used in the described work in the progression methodin the same way, aiming for the greatest effectiveness possible within the range of gestures contained in the kamae beingstudied. When the specific technical gestures of the kamae have been internalised and a certain level of skill reached, try togive continuity to other types of technique, for example gueri waza, tsuki waza, etc. It is even possible to finish the actionswith some technique from other Budo, such as joint locks, throws, etc. These last actions should be omitted if there isn’t asufficient level of dexterity, understanding and skill in the development of, and work on, the specific waza of our art.

It is necessary to practise at three different rhythms: slow, medium and fast.

In exercises nº 1, 2, 3 and 6 the defence is performed towards the outside from the inside, in exercises 4, 5 and 7the defence is performed towards the inside from the inside, exercise nº 8 combines defences towards the outside and insidefrom the inside.

124

H. Shodan Método de progresión para el trabajo de adaptación del Kamae Shuto UkeProgression method for the Kamae Shuto Uke adaptation work

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13.2. EXPOSICIÓN DE LOS EJERCICIOS

EJERCICIO Nº 1

Ataques del oponente Atemi circular de puño jodan de derechaNº de acciones propias 2Tipo de trabajo Sei te en simultaneidad

Acción Lateralidad Gesto técnico1 Defensa Izquierda Jodan shuto uke2 Contraataque Derecha Chudan shuto uchi

13.2. EXPLANATION OF THE EXERCISES

EXERCISE Nº 1

Opponent’s attacks Right jodan roundhouse punchNº of individual actions 2Type of work Sei te simultaneously

Action Side Technical gesture1 Defence Left Jodan shuto uke2 Counter-attack Right Chudan shuto uchi

1-2


1-2

125

H. Shodan Método de progresión para el trabajo de adaptación del Kamae Shuto UkeProgression method for the Kamae Shuto Uke adaptation work

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H. Shodan Análisis e interpretación integral de las técnicasComplete technique analysis and interpretation

14. ANÁLISIS E INTERPRETACIÓN INTEGRAL DE LAS TÉCNICAS

14.1. GEDAN BARAI

Miembro utilizado: brazo Articulaciones implicadas: codo, hombro, muñeca

Articulación principal: codo Recorrido: descendente de interior a exterior

Tipo de impacto: choque con percusión Zona de impacto: parte exterior de la muñeca

►► Interpretación táctica convencional

● Como defensa gedan de interior a exterior

- Ante patada frontal (mae gueri), por el interior y por el exterior

14. COMPLETE TECHNIQUE ANALYSIS AND INTERPRETATION

14.1. GEDAN BARAI

Member used: arm Joints involved: elbow, shoulder, wrist

Main joint: elbow Trajectory: falling, from the inside to the outside

Type of impact: blow with repercussion Impact zone: exterior part of the wrist

►► Conventional tactical interpretation

● As an interior or exterior gedan defence

- When faced with a front kick (mae gueri), on the inside and on the outside

►► Otras posibles interpretaciones

● Como atemi descendente gedan tsuki, por analogía de movimiento

-Ante presa efectuada con ambas manos a las solapas, o situación similar

►► Other possible interpretations

● As a falling gedan tsuki atemi, using an analogous movement

- When faced with a two-hand grip to the lapels, or similar situation

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H. Shodan Kata goshin do_

15. KATA GOSHIN DO

15.1. DEFENSA PERSONAL

En este apartado se irán realizando aplicaciones ante las situaciones expuestas con anterioridad en los Kamae es-tudiados y desarrollados, Shuto Uke y Tetsui Uchi, en combinación con lo mostrado de igual manera en el apartado Análisise interpretación integral de las técnicas.

Contemplando para ello las formas descritas en el Método de progresión de los trabajos de adaptación de los Kamae,con la salvedad de que se omitirá la fase de acondicionamiento por estar ésta ya trabajada, pasando directamente a la fasede libre adaptación, eso sí comenzando por determinar un ritmo adecuado al nivel de asimilación del mismo: lento al principio,medio a medida que se adquiere más soltura y rápido al final cuando el movimiento surge de forma espontánea y con pocoo nulo margen de error.

NOTA IMPORTANTE: En los trabajos de los Kamae, así como en el Método de progresión de los trabajos de adapta-ción, se contempla únicamente la posibilidad con atemi waza ya sea en defensa, ataque y contraataque, en el Desarrollo einterpretación integral de las técnicas se contempla además otras posibilidades como sueltas de agarre, presas, desequilibrar,proyectar, etc.

15. KATA GOSHIN DO

15.1. SELF-DEFENCE

In this section, applications will be performed when faced with situations previously presented in the Kamae thathave been studied and developed, Shuto Uke and Tetsui Uchi, in combination with what is also shown in the Complete tech-nique analysis and interpretation section.

For this, the methods described in the Adaptation work progression method of the Kamae should be studied, withthe exception that the conditioning phase be omitted as it has already been worked on. We can go straight to the free adap-tation phase, but start by determining a rhythm suited to its level of assimilation: slowly at first, medium speed as more as-surance is acquired and fast when the movement becomes spontaneous and with little or no margin of error.

NB: In the Kamae work as well as in the Adaptation work progression method, only the possibility of using atemiwaza as a defence, attack or counter-attack will be considered. In the Development and complete interpretation of the tech-niques other possibilities will also be considered, such as releases, holds, unbalancing, throws, etc.

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H. Shodan Gokugi Kata

148

16. GOKUGI KATA

16.1. CONCEPTS OF THE KATA APPLICABLE TO THE KUMITE

In this Kata we are shown the idea of starting out along the diagonals as a clear foundation for dodging in move-ments 19 and 21. Therefore, this thought will be present in the development of the work relating to this section, accordingto the structuring of the work specified with this aim in the general explanation of Gokugi Kata. We can also sense the ideaof tactics in movement 3, where, by means of a lowered guard, we deliberately leave our middle and upper body unprotectedso as to somehow force an attack to the jodan area and so try to obtain. an advantage from the situation

In order to follow a determined order, this section should be performed taking the ippon kumite sheets as a referencepoint.

• CONCEPTS TO DEVELOP

Dodging using the diagonals

Dodging by means of the partial use of certain turns

In defenceIn attackIn simultaneous defence and counter-attack

Hen te in the sequences in which they occurAnticipation, an idea implicit in the first and fourth turn (uraken when turning, ushiro, gueri)

• POSSIBILITY OF LINKING WITH ANOTHER TYPE OF ACTION

Sweep or unbalance to the front leg on the inside with the back legSweep or unbalance to the front leg on the inside with the front legSweep or unbalance to the front leg on the outside with the back legSweep or unbalance to the front leg on the outside with the front leg

• TECHNIQUES TO USE

Those shown in the Kata to defend as well as to counter-attack. The hen te and sei te concepts will be worked on.

• POSSIBLE WORK

Develop a type of kumite working the diagonals with gedan barai defence and giaku tsuki counter-attack, whenfaced with a mae gueri attack, staying on the inside or the outside according to the type of posture.

After this work add sweeping exercises with the following possibilities:

Ai gamae (same posture)

From the inside sweeping the attacker’s front leg on the inside with the back leg.

From the inside sweeping the attacker’s front leg on the outside with the back leg.

Giaku gamae (reverse posture)

From the outside sweeping the attacker’s front leg with the front leg.

Use the different posibilities for sweeping work with the sei te combination gedan barai defence and giaku tsuki.

Indiscriminately ai gamae or giaku gamae, then with the other side, studying the opportunities that may arise in eachcase to perform a sweep and systemise it.

Work on the gedan uchi barai and giaku tsuki techniques in the same order as in the previous exercise.

Use the shuto work to find a way out when faced with mawashi gueri attacks independent of your partner’s posture.

First ai gamae, then giaku gamae. Once an assurance has been acquired with the defences and the counter-attack,make the most of the work to start on the sweep when faced with mawashi gueri performing the same steps and hold on theopponent’s leg.

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H. Nidan Vista aérea Aerial view

4. VISTA AÉREA / 4. AERIAL VIEW

151

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8.2. FORMA DE TRABAJO HEN TE

Utilización consecutiva del mismo brazo como defensa-ataque, defensa-defensa, ataque-ataque.

Combinaciones específicas y posibilidades de trabajo.

8.2. HEN TE WORK METHOD

Consecutive use of the same arm to block-attack, defend-defend, attack-attack.

Specific combinations and work opportunities.

Defensa / Defence Defensa / Defence

Ude uke Soto uke Shuto uke Osae ukeGedan uchi barai Uchi uke Gedan barai Age shuto uke

Defensa / Defence Contraataque / Counter-attack

Soto uke Yoko tsuki

Contraataque / Counter-attack Defensa / DefenceGiaku tsuki Uchi uke Giaku tsuki Morote uke

1

KAMAE

3

2 4

5

6

7

8 9

1- Hacia delante Forwards: Mawashi gueri, giaku tsuki2- Hacia atrás Backwards: Ude uke o/or tate uke, soto uke3- Hacia delante Forwards: Chudan oi tsuki, chudan giaku tsuki4- Hacia atrás Backwards: Shuto uke, osae uke5- Hacia delante Forwards: Mae gueri, chudan oi tsuki6- Hacia atrás Backwards: Gedan uchi barai, uchi uke (giaku hamní)7- Hacia delante Forwards: Mae gueri, jodan oi tsuki8- Hacia atrás Backwards: Gedan barai, age shuto uke9- Contraataque Counter-attack: Giaku tsuki

Ejemplo clásico de kihon lineal en avance y retroceso

Classic example of a lineal kihon going forwards and backwards

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H. Nidan Desarrollo del kihon Kihon development

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EJEMPLO A-5

Ataques del oponente Jodan oi tsuki de derechaNº de acciones propias 3Tipo de trabajo Hen te, sei teUbicación Interior

Acción Lateralidad Gesto técnico1 Defensa Izquierda Tate uke2 Contraataque Izquierda Mawashi tetsui uchi (ura tsuki o uraken uchi)3 Contraataque Derecha Mawashi tetsui uchi (ura tsuki o uraken uchi)

EXAMPLE A-5

Opponent’s attacks Right jodan oi tsukiNº of individual actions 3Type of work Hen te, sei teLocation Inside

Action Side Technical gesture1 Defence Left Tate uke2 Counter-attack Left Mawashi tetsui uchi (ura tsuki or uraken uchi)3 Counter-attack Right Mawashi tetsui uchi (ura tsuki or uraken uchi)


1 2 3

172

H. Nidan Desarrollo integral del Kamae Tate Uke Complete development of the Kamae Tate Uke

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EJEMPLO Nº 7

Ataques del oponente Atemi circular de puño jodan de derecha y de izquierdaNº de acciones propias 3Tipo de trabajo Hen te

Acción Lateralidad Gesto técnico1 Defensa Derecha Soto nagashi uke2 Defensa Derecha Jodan tate uke3 Contraataque Derecha Jodan uraken uchi o jodan ura tsuki

EXAMPLE Nº 7

Opponent’s attacks Right and left jodan roundhouse punchNº of individual actions 3Type of work Hen te

Action Side Technical gesture1 Defence Right Soto nagashi uke2 Defence Right Jodan tate uke3 Counter-attack Right Jodan uraken uchi or jodan ura tsuki

1 2 3


1 2 3

196

H. Nidan Método de progresión para el trabajo de adaptación del Kamae Tate Uke Progression method for the Kamae Tate Uke adaptation work

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MODELO B

EJEMPLO B-1

Ataques del oponente Oi tsuki de derecha, mae gueri de izquierdaNº de acciones propias 3Tipo de trabajo Sei teUbicación Interior

Acción Lateralidad Gesto técnico1 Defensa Izquierda Morote uke2 Defensa Derecha Gedan barai3 Contraataque Izquierda Jodan kizami tsuki

MODEL B

EXAMPLE B-1

Opponent’s attacks Right oi tsuki, left mae gueriNº of individual actions 3Type of work Sei teLocation Inside

Action Side Technical gesture1 Defence Left Morote uke2 Defence Right Gedan barai3 Counter-attack Left Jodan kizami tsuki


1 2 3

H. Nidan Desarrollo integral del Kamae Morote Uke Complete development of the Kamae Morote Uke

203

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- Ante técnicas circulares de pierna a nivel jodan

- When faced with circular jodan leg tehcniques


● Como suelta por movimiento directo, por analogía de movimiento

- Ante presa efectuada con una sola mano a la muñeca por el frente con lateralidad sin cruzar


● As a release using direct movement, using an analogous movement

- When faced with a one-handed, uncrossed hold to the wrist from the front

● Como suelta por movimiento directo, por utilización de otro elemento que conforma la técnica

- Ante presa con una mano a un hombro por el frente lateralidad sin cruzar

● As a release using direct movement, using another element that forms part of the technique

- When faced with a one-handed, uncrossed grip to the shoulder from the front

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H. Nidan Análisis e interpretación integral de las técnicas Complete technique analysis and interpretation

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8.2. FORMA DE TRABAJO HEN TE

Utilización consecutiva del mismo brazo como defensa-ataque, defensa-defensa, ataque-ataque.

Combinaciones específicas y posibilidades de trabajo.

8.2. HEN TE WORK METHOD

Consecutive use of the same arm to block-attack, defend-defend, attack-attack.

Specific combinations and work opportunities.

Defensa / Defence Defensa / Defence

Uchi uke Gedan baraiGedan barai Uchi uke Morote uke Osae uke

Defensa / Defence Contraataque / Counter-attack

Empi uke Uraken uchi

5

1

Kamae

3

2 4

1 Hacia delante Forwards: Mae gueri, giaku tsuki2 Hacia atrás Backwards: Gedan barai, uchi uke3 Hacia delante Forwards: Mawashi gueri, giaku tsuki, kizami tsuki4 Hacia atrás Backwards: Morote uke, osae uke, tetsui uke5 Contraataque Counter-attack: Giaku tsuki

Ejemplo clásico de kihon lineal en avance y retroceso

Classic example of a lineal kihon going forwards and backwards

240

H. Sandan Desarrollo del kihon Kihon development

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A

T

A

Q

U

E

S

S

A

M

B

O

N

1

Chudan oi tsuki Chudan oi tsukiChudan oi tsuki

Chudan oi tsuki Chudan oi tsuki

Morote uke Empi uke

Uchi uke

Tate shuto uke

Tate shuto uke

Mawashi gueri

Morote uke

Giaku tsuki

Kizami tsuki

S

A

M

B

O

N

2

Primer paso Segundo paso Tercer paso Contraataques

A

T

A

Q

U

E

S

Sambon kumite

H. Sandan Desarrollo del kihon kumite Kihon kumite development

247

Básico / BasicDesarrollado / DevelopedPrimer paso / First step

Segundo paso / Second stepTercer paso / Third step

Ataque / AttackContraataque / Counter-attackAd

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MODELO G

EJEMPLO G-1

Ataques del oponente Mae gueri de derecha, tsuki de derecha, giaku tsukiNº de acciones propias 6Tipo de trabajo Hen te, sei teUbicación Interior pasando a exterior

Acción Lateralidad Gesto técnico1 Defensa Izquierda Gedan barai2 Defensa Izquierda Uchi uke3 Defensa Izquierda Uchi uke ayudado por soto uke de derecha4 Kio(control) Izquierda Pasar a desventaja4 Contraataque Derecha Jodan uraken uchi o jodan ura tsuki

MODEL G

EXAMPLE G-1

Opponent’s attacks Right mae gueri, right tsuki, giaku tsukiNº of individual actions 6Type of work Hen te, sei teLocation Inside passing to the outside

Action Side Technical gesture1 Defence Left Gedan barai2 Defence Left Uchi uke3 Defence Left Uchi uke helped by a right soto uke4 Kio(control) Left Put at a disadvantage4 Counter-attack Right Jodan uraken uchi or jodan ura tsuki


1 2 3 3

4

277

H. Sandan Desarrollo integral del Kamae Kosa Uke Complete development of the Kamae Kosa Uke

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EJERCICIO Nº 7

Ataques del oponente Atemi circular de puño jodan de derecha y de izquierdaNº de acciones propias 5Tipo de trabajo Sei te en simultaneidad, hen te, sei te

Acción Lateralidad Gesto técnico1 Defensa Izquierda Jodan uchi uke2 Defensa Derecha Jodan uchi uke3 Contraataque Izquierda Chudan ura tsuki4 Kio (Control) Izquierda Pasar a desventaja5 Contraataque final Derecha Giaku tsuki

EXERCISE Nº 7

Opponent’s attacks Right and left jodan roundhouse punchNº of individual actions 5Type of work Sei te simultaneously, hen te, sei te

Action Side Technical gesture1 Defence Left Jodan uchi uke2 Defence Right Jodan uchi uke3 Counteer-attack Left Chudan ura tsuki4 Kio (control) Left Put at a disadvantage5 Final counter-attack Right Giaku tsuki

1 2-3 4 4 5


1 2-3 4 4 5

286

H. Sandan Método de progresión para el trabajo de adaptación del Kamae Kosa Uke Progression method for the Kamae Kosa Uke adaptation work

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12.4. FUMIKOMI GUERI

Miembro utilizado: pierna Articulaciones implicadas: cadera, rodilla, tobillo

Articulación principal: rodilla Recorrido: rectilíneo y descendente

Tipo de impacto: choque Zona de impacto: planta del pie


● Como atemi aplastante

12.4. FUMIKOMI GUERI

Member used: leg Joints involved: hip, knee, ankle

Main joint: knee Trajectory: direct and falling

Type of impact: blow Impact zone: sole of the foot


● As a crushing atemi


● Como defensa con la tibia de interior a exterior, utilización por analogía de movimiento

- Ante patada frontal


● As a defence from the inside to the outside using the shinbone, using an analogous movement

- When faced with a front kick

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H. Sandan Análisis e interpretación integral de las técnicas Complete technique analysis and interpretation

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Ejemplo 1 / Example 1

1 2 3


1 2 3


1 2


1 2

318

H. Yondan Desarrollo del kihon Kihon development

8.4. EXPOSICIÓN DE ALGUNOS EJEMPLOS SEÑALADOS EN EL CUADRO DE TRABAJO

8.4. EXPLANATION OF SOME OF THE EXAMPLES SHOWN IN THE WORK TABLE

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EJEMPLO D-3

Ataques del oponente Oi tsuki de izquierda, giaku tsukiNº de acciones propias 4Tipo de trabajo Sei te, hen te, sei teUbicación Interior

Acción Lateralidad Gesto técnico1 Defensa Derecha ayudado por la izquierda Kakiwake uke2 Defensa Izquierda ayudado por la derecha Kakiwake uke3 Kio (control) Izquierda Pasar a desventaja4 Contraataque Derecha Giaku tsuki

EXAMPLE D-3

Opponent’s attacks Left oi tsuki, giaku tsukiNº of individual actions 4Type of work Sei te, hen te, sei teLocation Inside

Action Side Technical gesture1 Defence The right helped by the left Kakiwake uke2 Defence The left helped by the right Kakiwake uke3 Kio (control) Left Put at a disadvantage4 Counter-attack Right Giaku tsuki


1 1 2 2

3-4

338

H. Yondan Desarrollo integral del Kamae Kakiwake Uke Complete development of the Kamae Kakiwake Uke

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EJERCICIO Nº 3

Este ejercicio es igual que el anterior pero la defensa es realizada ante un ataque con arma

Ataques del oponente Ataque rectilíneo con arma blanca con el brazo derechoNº de acciones propias 2Tipo de trabajo Sei te

Acción Lateralidad Gesto técnico1 Defensa Derecha ayudado por la izquierda Kakiwake uke2 Kio (control) Derecha Pasar a desventaja3 Contraataque Izquierda Giaku tsuki

EXERCISE Nº 3

This exercise is the same as the previous one but the defence is performed facing an attack with a weapon

Opponent’s attacks Direct attack with a blade using the right arm.Nº of individual actions 2Type of work Sei te

Action Side Technical gesture1 Defence The right helped by the left Kakiwake uke2 Kio (control) Right Put at a disadvantage3 Counter-attack Left Giaku tsuki

1 1 2 3

1 1 2 3


342

H. Yondan Método de progresión para el trabajo de adaptación del Kamae Kakiwake Uke Progression method for the Kamae Kakiwake Uke adaptation work

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● Como suelta ante presa efectuada por la espalda con ambas manos, una a cada muñeca, aplicación por analo-gía de movimiento


● As a release when faced with a two-handed grip, one to each wrist, from behind. The application uses an analo-gous movement

- Ante técnicas circulares e pierna a nivel jodan

- When faced with circular leg techniques at jodan level

344

H. Yondan Análisis e interpretación integral de las técnicas Complete technique analysis and interpretation

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13. KATA GOSHIN DO

13.1. DEFENSA PERSONAL

En este apartado se irán realizando aplicaciones ante las situaciones expuestas con anterioridad en el Kamae estu-diado y desarrollado, Kakiwake uke, en combinación con lo mostrado de igual manera en el apartado Análisis e interpretaciónintegral de las técnicas.

Contemplando para ello las formas descritas en el Método de progresión de los trabajos de adaptación de los Kamae,con la salvedad de que se omitirá la fase de acondicionamiento por estar ésta ya trabajada, pasando directamente a la fasede libre adaptación, eso sí comenzando por determinar un ritmo adecuado al nivel de asimilación del mismo: lento al principio,medio a medida que se adquiere más soltura y rápido al final cuando el movimiento surge de forma espontánea y con pocoo nulo margen de error.

NOTA IMPORTANTE: En los trabajos de los Kamae, así como en el Método de progresión de los trabajos de adapta-ción, se contempla únicamente la posibilidad con atemi waza ya sea en defensa, ataque y contraataque, en el Desarrollo einterpretación integral de las técnicas se contempla además otras posibilidades como sueltas de agarre, presas, desequilibrar,proyectar, etc.

13. KATA GOSHIN DO

13.1. SELF-DEFENCE

In this section, applications will be performed when faced with situations previously presented in the Kamae thathave been studied and developed, Kakiwake Uke, in combination with what is also shown in the Complete technique analysisand interpretation section.

For this, the methods described in the Adaptation work progression method of the Kamae should be studied, withthe exception that the conditioning phase be omitted as it has already been worked on. We can go straight to the free adap-tation phase, but start by determining a rhythm suited to its level of assimilation: slowly at first, medium speed as more as-surance is acquired and fast when the movement becomes spontaneous and with little or no margin of error.

NB: In the Kamae work as well as in the Adaptation work progression method, only the possibility of using atemiwaza as a defence, attack or counter-attack will be considered. In the Development and complete interpretation of the tech-niques other possibilities will also be considered, such as releases, holds, unbalancing, throws, etc.

H. Yondan Kata goshin do

355

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13 17 181614-B14-A 21-B21-A20

H. Godan Vistas desde otros ángulos y embusen (línea de realización) Views from other angles and embusen (performance line)

3. EMBUSEN

Línea de realización / Performance line

359

2. VISTAS DESDE OTROS ÁNGULOS / 2. VIEWS FROM OTHER ANGLES

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EJEMPLO D-10

Ataques del oponente Oi tsuki de izquierda, mae gueri de derechaNº de acciones propias 3Tipo de trabajo Hen teUbicación Interior

Acción Lateralidad Gesto técnico1 Defensa Ambas manos Jodan juji uke2 Defensa Izquierda Gedan nagashi shuto barai3 Contraataque Izquierda Nukite (garganta)

EXAMPLE D-10

Opponent’s attacks Left oi tsuki, right mae gueriNº of individual actions 3Type of work Hen teLocation Inside

Action Side Technical gesture1 Defence Both hands Jodan juji uke2 Defence Left Gedan nagashi shuto barai3 Counter-attack Left Nukite (throat)


1 2 2 3

406

H. Godan Desarrollo integral del Kamae Jodan Juji Uke Complete development of the Kamae Jodan Juji Uke

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EJERCICIO Nº 8

Ataques del oponente Ataque descendente con el brazo derecho y ataque de puño chudanNº de acciones propias 3Tipo de trabajo Hen teUbicación Interior pasando a exterior

Acción Lateralidad Gesto técnico1 Defensa Ambas manos Jodan juji uke2 Defensa Izquierda Gedan nagashi shuto barai3 Contraataque Izquierda Nukite

EXERCISE Nº 8

Opponent’s attacks Falling attack with the right arm and chudan punch attackNº of individual actions 3Type of work Hen teLocation Inside passing to the outside

Action Side Technical gesture1 Defence Both hands Jodan juji uke2 Defence Left Gedan nagashi shuto barai3 Counter-attack Left Nukite


1 2 2 3

1 2 2 3

416

H. Godan Método de progresión para el trabajo de adaptación del Kamae Jodan Juji Uke Progression method for the Kamae Jodan Juji Uke adaptation work

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12.12. MANGI UKE


Secuenciación como bunkai clásico

Kamae compuesto básicamente por gedan barai y la acción de tirar con la otra mano hasta colocarla justo detrásde la cabeza, quizás como elemento de protección de la misma o bien como preparación de la siguiente acción. Puede repre-sentar diferentes acciones, como soltarse ante una presa a la muñeca, golpear genitales etc. estas interpretaciones están des-critas en la técnica gedan barai.

12.12. MANGI UKE


Sequencing as in the classic bunkai

Kamae basically composed of gedan barai and the action of pulling with the other hand until it is placed just behindthe head, perhaps as a protective element, or in preparation for the following action. It can represent different actions, suchas releasing onself from a grip to the wrist, hitting the genitals, etc. These interpretations are described in the technique gedanbarai.

Secuencia 1 / Sequence 1



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H. Godan Análisis e interpretación integral de las técnicas Complete technique analysis and interpretation

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H. Kaishu no kata Justificación Justification

1. HEIAN KAISHU NO KATA

1.1. JUSTIFICATION

This Kata has been developed with the open hand techniques that the heian Kata offer us in mind, since, althoughfrom a historical point of view, these were first created by Master Itoshu in 1909, who called them Pinan and then modifiedby Master Gichin Funakoshi, who called them Heian, they were designed with a didactic aim in order to be able to introduceKarate do into the schools of Okinawa and then Japan.

1.2. FOCAL POINTS

Historical

In such a way that they were almost symmetrical and with a purpose focused rather on physical education than onthe martial aspect. This is why, at the beginning, they were mostly made up of open-hand techniques, like the naifanchi(tekki), but master Hanashiro (Itoshu’s disciple) taking their difficulty and danger for children into account, started to closefists. This change being approved by Mater Itoshu himself.

With the creation of this Kata, which brings together all the open hand sequences of the heian Kata, the aim is toregress, albeit only symbolically, to their origins.

Technical

From this point of view, we must consider that, it being an open-hand Kata, it generates a lot less muscular tensionand allows a greater development in the fluidity of the movements and coordination since there are certain technical sequen-ces in which both arms and hands intervene simultaneously. It also improves work on the opposite side of the body as thereare sequences that are usually only performed on one side in the heian Kata. In this work, both sides are used.

Tactical

Improving our compendium of open-hand technique application, straight as well as circular, incorporating thesetypes of technique into our usual work repertory by giving it greater variety and quantity of resources.

Pedagogical

Giving the teacher another tool when it comes to teaching Karate do and showing the relationship and interactionof the old with the new, always respecting the tradition and essence of Karate do.

1.3. OBJECTIVES

Creativity

Improving the concept of relaxation, contraction, relaxation.

Achieving versatility and fluidity in open-hand work, not only looking for the concept of defence and counter-at-tack, but also possible holding, controlling and unbalancing actions, etc.

Acquiring motor skill in agreed work so as to translate this to adaptation work or intuitive work.

432

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43

9-B 9-A 10-A 10-B

14

11-A

12-B

11-B

12-A

13

15-A 15-B 16

17-A 17-B

18-A 18-B

5-A 5-B

6-A 6-B

8

7

YOI 1

2

YAME YOI

H. Kaishu no kata Esquema general General outline

2. ESQUEMA GENERAL / 2. GENERAL OUTLINE

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EJEMPLO Nº 5

Ataques del oponente Chudan oi tsuki de derechaNº de acciones propias 6Tipo de trabajo Sei teUbicación Exterior

Acción Lateralidad Gesto técnico1 Defensa Derecha Shuto uke2 Contraataque Izquierda Shuto uchi a la garganta3 Contraataque Derecha Shuto uchi al costado4 Sabaqui largo5 Kio (control) Ambas manos6 Barrido Ambas manos7 Contraataque Izquierda Shuto uchi al cuello

EXAMPLE Nº 5

Opponent’s attacks Right chudan oi tsukiNº of individual actions 6Type of work Sei teLocation Outside

Action Side Technical gesture1 Defence Right Shuto uke2 Counter-attack Left Shuto uchi to the throat3 Counter-attack Right Shuto uchi to the ribs4 Long sabaqui5 Kio (control) Both hands6 Sweep Both hands7 Counter-attack Left Shuto uchi to the neck

1 2 3 4

5 6 7

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H. Kaishu no kata Secuenciación de algunas aplicaciones Sequencing of some applications

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2. GIROS MATRICES O GENÉRICOS

Siguiendo el patrón de ordenamiento anteriormente descrito tendríamos:

2.1. GIROS CORTOS

A - Con la pierna adelantada

Goyu shiho sho, primer giro, orientación en una sola dirección.

2. PRINCIPAL OR GENERIC TURNS

Following the pattern of order described above we have:

2.1. SHORT TURNS

A - With the front leg

Goyu-shiho-sho, first turn, facing in one direction.

Estudio general sobre los giros Giros matrices General study on turns Principal or generic turns

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F-1 - Con la pierna atrasada hacia la espalda y con cambio de dirección de 90º

Variante y manifestación parcial del segundo giro de Heain Sandan, tercer giro presente en Heian Shodan.

F-1 - With the back leg, 90º backwards turn with change of direction

Variant and partial demonstration of the second turn in Heian sandan, third turn present in Heian shodan.

F-2 - Con la pierna atrasada hacia la espalda y con cambio de dirección de 90º

Variante y manifestación parcial del segundo giro de Heian Sandan.

F-2 - With the back leg 90º backwards turn with change in direction

Variant and partial demonstration of the second turn in Heian sandan.

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Estudio general sobre los giros Giros matrices General study on turns Principal or generic turns

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- Ante ataque circular con la pierna izquierda desde la espalda:

EJERCICIO Nº 1: Esquiva por el interior, defensa hacia el exterior

- When faced with a circular attack with the left leg from behind:

EXERCISE Nº 1: Dodge to the inside, outward defence

1 2

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Estudio general sobre los giros Esquivas asociadas_General study on turns Associated dodges

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6.3. EXPOSICIÓN DE LOS EJEMPLOS

POR ACERCAMIENTO AL OPONENTE

Lateralidad sin cruzar

Ataques del oponente Agarre con mano derecha a hombro derechoNº de acciones propias 2Tipo de trabajo Hen teUbicación Interior

Acción Lateralidad Gesto técnico1 Agarre del oponente Derecha2 Acercamiento Pie izquierdo Utilización parcial del giro D2 Ataque Izquierda Ushiro empi uchi3 Ataque Izquierda Gedan tetsui uchi

6.3. EXPLANATION OF THE EXAMPLES

BY APPORACHING THE OPPONENT

Uncrossed

Opponent’s attacks Right-handed hold to the right shoulderNº of individual actions 2Type of work Hen teLocation Inside

Action Side Technical gesture1 Opponent’s hold Right2 Approach Left foot Partial use of turn D2 Attack Left Ushiro empi uchi3 Attack Left Tetsui uchi gedan

1 2 3

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Estudio general sobre los giros Formas de escape General study on turns Means of escape

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7. CONCLUSIÓN

Hemos de transmitir, una vez analizados los diferentes giros en función de los criterios anteriormente mencionados,la siguiente observación:

Todos los giros existentes en los kata están contenidos en alguno de estos seis giros genéricos o matrices, con lasalvedad de que algunos de los giros que existen en los kata se manifiesten de forma parcial, es decir, si un giro determinadono es exactamente igual que uno de estos mencionados, es una variante o manifestación parcial de uno de ellos.

Cabe destacar también que los giros desarrollan una serie de habilidades físico-técnicas por un lado y por otro, quecontienen aspectos tácticos. Se ha observado que en algunos kata determinados giros sólo se realizan con una lateralidad,y en otros con la contraria, por lo que sería conveniente trabajarlos todos con ambas lateralidades tanto en el trabajo de kihoncomo en el de las aplicaciones. De ahí la importancia de trabajar los kata, además de en el sentido habitual, es decir, enomote, en ura (sentido contrario), go (con la misma lateralidad, pero hacia atrás), en esta forma los giros se efectúan en sen-tido inverso que en omote, en ura-go (por el lado contrario y hacia atrás), como formas más destacables de práctica. Unavez practicado e interiorizado este amplio bagaje de movimientos en todas las direcciones, dispondremos de una mejor ymayor movilidad, una gran coordinación y un mejor control del espacio, así como la soltura y fluidez necesarias para poste-riormente trasladar estas habilidades físico técnicas al campo de las aplicaciones con una aparente naturalidad y sencillez.

Por este motivo debemos distinguir dos aspectos diferentes en el entrenamiento de los giros:

1- Adquisición de habilidades físico técnicas

2- Capacidad de adaptación en el campo de las aplicaciones, es decir, el aspecto táctico

7. CONCLUSION

We must pass on, once the different turns have been analysed according to the abovementioned criteria, the follo-wing observation:

All the turns in the Kata are contained in on of these six generic or fundamental turns, with the exception of someof the turns in the Kata they appear in partial form, that is to say, if a certain turn is not exactly the same as one of thosementioned, it is a variant or partial expression of one of them.It is important to point out that the turns develop a series of physical-technical skills on the one hand, and on the other, thatthey contain tactical aspects. It has been observed that in some Kata, certain turns are only performed in one direction, andin others, in the opposite one. For this reason, it is advisable to work on them in both directions, in kihon as well as applicationwork. Hence the importance of working on the Kata, as well as in the usual direction, that is to say, in omote, in ura (oppositedirection), go(on the same side, but backwards), in this version, the turns are performed in the inverse direction than inomote, in ura-go (on the opposite side and backwards), as the most notable practice methods. Having practised and inter-nalised this wide selection of movements in all directions, we will have a greater and better mobility, excellent coordinationand better spatial control, as well as the assurance and fluidity necessary to then transfer these physical-technical skills tothe field of applications with an apparent naturalness and simplicity.

For this reason, we must distinguish between two different aspects in the training of turns:

1- The acquisition of physical-technical skills

2- The ability to adapt in the field of application, in other words, the tactical aspect

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Estudio general sobre los giros Conclusión General study on turns Conclusion

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