Okinawan Shorei-Kempo Karate

Okinawan Shorei-Kempo
Karate
Shawano Dojo Class Materials

What is Karate?
Karate is the ultimate of the unarmed martial arts. The word karate means empty hands: kara – empty, te – (pronounced
“tay”) hands. Therefore empty hands, or hands without a weapon. Actually the hands, elbows, knees, feet and other parts
of the body are the Karate-ka’s (person’s) weapons. Karate utilizes the many unique characteristics of the human anatomy
to produce the most efficient and effective striking blows possible. Proper instruction will provide the karate-ka with
kicking, punching, slashing, clawing, stabbing and gouging techniques, along with a few grappling and throwing techniques
which are used in special instances where it is more practical to throw an opponent than to deliver a strike or blow.
The superficial purpose of Shorei-Kempo Karate, as with any form of martial art, is that of self-defense, or learning to
block, punch and kick. If self-defense were the sole motivator, however, simply purchasing a weapon of some sort would
suffice. Choosing to go through all the work of learning karate would be unnecessary.
The underlying purpose of Shorei-Kempo is the development of the art of self-control, based on the philosophy that in our
life exists a union of body, mind and spirit (chi). As we learn to control the body, we learn to control the mind. The trained
mind can then take over in times of stress, depression, anger and fear with poise and control. This is useful not only in
self-defense, but in all aspects of daily life.
Although learning self-defense may not appeal to everyone, the development and unification of body, mind and spirit is
something all of us should be striving for. Shorei-Kempo karate is just one means toward that end.
2

Where did Karate come from?
Karate can trace its origins to the Buddhist monks, particularly to an Indian monk named Daruma. In approximately 525
A.D., Daruma crossed the Himalayan Mountains from India to China on foot, a task that required tremendous physical and
mental prowess in itself. He came to China to enlighten and teach the monarchs and monks of the Liang dynast in the ways
of Buddha. Daruma found the Chinese monks lacking in physical culture more so than in intellectual or philosophical
knowledge. He therefore incorporated a physical fitness program into his teaching. Rather than have the monks practice
monotonous calisthenics, Daruma based the exercise on certain animal movements and self-defense techniques he had been
taught, had observed in his travels, or had developed himself. Soon the monks of the Shaolin Temple became famous for
their physical and fighting ability. Shaolin Temple tsu (method) was carried by missionary monks to Okinawa where it was
developed to its highest perfection. Up until the early 1900’s, however, karate was banned from public study and taught
secretly to select families. “Schools”, as we know them today, were nonexistent. Karate was passed from generation to
generation within the family.
Inevitably “styles” of karate began to emerge. Each student would interpret the original teaching differently and in turn teach
their new students differently. Of the three major Okinawan styles that ensued, Naha-Te Karate was probably the most
popular. One of the greatest masters of Naha-Te was Kanryo Higoshionna, who studied in the late 18 th century.
Higoshionna had many great students who went on to become famous in their own right, including Chojun Miyagi (founder
of Goju-Ryu), Kenwa Mabuni (founder of Shito-Ryu), and Ankho Ituse (founder of Shorei-Ryu) the basis of
Shorei-Kempo Karate.
We can then trace our direct Sensei history to Ankho Ituse. Receiving his initial rank of Shodan between 1890 and 1900,
he proceeded to open the first official “school” of martial arts to the public. One of his students, Choki Motobu (one of the
greatest Okinawan fighters of all time) received his Shodan in 1910. He trained many students. One, in particular, a monk
named Tung G. Sang, began karate under Choki Motobu but completed his training by traveling directly to China as a
missionary to study under the Shaolin priests. He received his Shodan in Canton, China in 1930. Sang met Robert Trias
during World War II in the British Solomon Islands. For the next seven years he trained Trias, and in 1942 Trias was
awarded his Shodan. Trias returned to the United States and eventually formed the United States Karate Association, the
largest martial arts association in the country, and is today known as the father of modern day Karate.
Phillip Koeppel started his martial arts training at age 18, while stationed in Yokohama, Japan with the US Navy. A year
later, while stationed in Hawaii, he had the opportunity to study with Adriano Emperado, founder of Kajukenbo. After his
discharge from the navy, he made contact with Robert Trias and joined the USKA in 1960.
Reverend William Foster was an accomplished boxer and also had some training in judo (achieving at least a brown belt).
While in China with the military he was also able to do some training in other martial arts. Upon his return to the United
States he made contact with the USKA. He continued his studies with Koeppel and Trias and was awarded his shodan by
Koeppel in 1962.
Reverend Foster moved to Kenosha in 1967 and took over Tim Hillary’s existing class. This class was a mix of Shotokan
karate and KyuShoShinKai karate. This class continued under the aegis of the USKA under Mr Trias until about 1969.
The Yin Yang Do Karate Association was formally established in 1973 promoting what came to be known as Shorei
Kempo karate.
In the late 1970’s, Charles St.Pierre began studying Karate at the University of Wisconsin, Parkside. He signed up for the
class to earn physical education credits toward his Masters Degree. He studied in Kenosha, WI for 9 years under Rev.
Foster and then moved to northern Wisconsin as a Ik Kyu (Brown Belt). It was there that he began teaching Karate to the
students that would eventually become the first students in the Northern Yin Yang Do Karate Association. St.Pierre has
traveled throughout northern Wisconsin since 1980 leaving everywhere he went a taste of Shorei-Kempo Karate. In 1993,
just prior to his death, Reverend Foster appointed Charles St.Pierre as the Shihan of the Northern Yin Yang Do Karate
Association. After this appointment, Shihan St.Pierre took the Association one step further by becoming a direct affiliate of
Master Koeppel’s Karate Do-Kai. In. In 2003, Shihan St.Pierre was awarded a Rokudan (6 th Degree Black Belt) in the
United States Karate Do-Kai and in January 2009 was promoted to Shichidan (7 th degree). 1994 Shihan St.Pierre offered
a class in Tai Chi at Shawano Medical Center. Gregory Thatcher was a member of that class, and continued to study as
the focus shifted from Tai Chi to Karate. He was awarded his Shodan on 8/27/2006 at Cecil, Wisconsin. He is also a
member of the United States Karate Do-Kai.
3

You, as a student of Shorei-Kempo, are part of a large and ever growing organization. We enjoy a wealth of history and
knowledge, which all of you can proudly say that you are a part of. As the Northern Yin Yang Do Karate Association
continues to expand, your individuality and input will ensure that Shorei-Kempo Karate continues its legacy and remains a
style you can truly call your own.
We of the Northern Yin Yang Do Karate Association honor our founder, Rev. Foster by continuing his tradition of not
charging for our instruction in this Art. We repay our debt by continuing to teach this Art, and are repaid in turn by the
commitment and dedication shown by our students.
Uke Always Wins
Shorei-Kempo Karate is based on defensive concepts. The act of defending is more physically devastating by virtue of
control. (To attack, one must become vulnerable in some way.) Therefore, Uke (defender) always defeats Tori (attacker).
4

Sensei History
Name Date Place of Shodan
Ankho Itus 1890-1900 Okinawa
Choki Motobu 1910 Okinawa
Tung G. Sang 1930 Canton, China
Robert Trias 1942 British Solomon Islands
Phillip Koeppel 1960 Peoria, IL
Rev. W. H. Foster 1962 Peoria, IL
Charles St.Pierre II 1981 Kenosha, WI
5

Dojo Etiquette
The word dojo in the Japanese language translates into a training hall. Inside this training hall is where karate practitioners
train. The Korean arts may also call this training hall Do-Jang. There are strict rules, traditions, and personal conduct that are
adhered to inside a dojo. We have listed many of the rules and traditions that our association follows:
The head of the class is called Sensei (father), both inside and outside of the dojo. When asking a question, start by saying the
title “Sensei” first before asking the question. When responding to a question, end by adding “Sensei”. Students senior to you
are Simpai. Shihan means master instructor (grandfather). Charles St.Pierre is the Shihan in our association
Sensei is in complete charge of the dojo. Course of instruction, promotion to higher rank and all other matters are at his
discretion.
It is customary to bow upon entering and exiting the dojo.
Punctuality for class is desired, if a student shows up late for class, the student should wait at the opening to the dojo until
recognized by the Sensei. The student once recognized should bow; enter the dojo and take his/her place on the training area.
If a student knows he / she will be late for class or has to leave early this should be conveyed to the Sensei prior to the class
The dojo is a learning environment; it is the ultimate goal for all students to provide a positive learning environment and should
treat each other with respect, both in and out of the dojo. "Leave your ego at the door”.
No shorts or tee shirts. If you do not have a gi, the uniform is a sweatshirt and sweatpants with tennis shoes or bare feet.
Horseplay will not be tolerated.
Thank your partner, shake hands and bow after an exercise.
Karate gis will be clean and in good condition. It is a sign of disrespect to wear torn uniforms.
Personal hygiene is required since we work close together. If your job is physically demanding please shower prior to class
Report all injuries to Sensei immediately.
Never interrupt Sensei or Sempais if they are speaking to someone else.
(Except in an emergency)
When you are told to line-up or move to another location of the dojo, do it as fast as possible.
Everyone should strive to give 100% of themselves in every class.
If you are reaching your physical limit in class do not push above it. This may only cause injury, resulting in a set-back in your
training. If you have an injury that limits your participation, please advise a senior. DO ONLY WHAT YOU CAN.
Upper belts should set an example for the lower belts by adhering to the rules of the dojo. However, it is not your job to punish
or ridicule a lower belt for breaking them, simply inform or remind them of the rule.
The obi (belt) is also part of your uniform and should be respected.
Never wash the obi, air it out after class.
If your obi comes untied during training stop and retie (always face the rear of the dojo).
Never let your obi drop to the floor.
It is important to have respect for the art that we study, the past master, the present masters as well as the dojo instructors and
fellow practitioners.
A large part of that respect is show in the attitude and actions of the student. Certain rituals are demanded by mere tradition,
but serve only for a better understanding of the traditional art:
Always address the head instructor as Sensei.
Always pay strict attention to the instructor and not to other distractions.
Never leave the class for a break, water, or any early dismissal, except with permission.
Students should remove all jewelry before class, for their own safety and that of others.
No smoking, profanity or gum in the dojo.
Practice what you are taught.
6

Never lose your temper in the dojo, especially in self defense, or free sparring
Students must always keep their finger and toenails clipped and clean. (This is to prevent unwanted injuries to other
students and yourself.)
Never talk during class except to ask or answer questions, or to discuss karate
Do not turn your back on your Sensei other than to adjust or re-tie your obi or during the flow of a kata or workout.
Always bow to a higher rank with your head lower than theirs and eyes on them. If the same rank, heads should be
equal with eyes meeting. When bowing to Sensei, your head should be equal to your waist and your eyes facing the
floor out of courtesy and respect for the knowledge that you could be killed at any time and that you trust Sensei
completely.
Where you line up in class depends on rank and date of promotion – know your place.
Karate is your secret. You do not brag about it. You do not tell anyone outside the dojo except family, friends and loved ones.
Telling strangers that you are a martial artist is dangerous, puts you at risk and possibly into a position to have to justify
yourself. You will be expelled from the dojo for using your art in a fight, unless the fight was for defense and there was no
option of running away.
There is no one best style of martial arts. All are paths to a goal. It is not encouraged to intensively study more than one art at
a time. It is encouraged, however, to become familiar with other styles and to learn from them.
7

Okinawan Shorei-Kempo Stances, Blocks and Strikes
Stances
Heisuki-Dachi (hi-suekee da-chee) Attention stance
Heels together, with each foot pointing outwards 45 o (forming a right angle between the feet
Kiba Dachi (key-ba da-chee) Straddle or Wide Horse stance
Feet roughly two shoulder-widths apart, feet parallel, toes pointing forwards
Zenkutso Dachi (zen koot-sa da-chee) Lunge stance
Forward leg ben at the knee with 60% of weight on front leg and 40% on rear leg. Knee of rear leg locked and
extended approximately two shoulder-widths behind lead foot. Torso erect
Neko Dachi (neck-oh da-chee) Cat stance
Rear knee bent, with foot flat on ground, and toes facing to the outside. Resting lightly (10%) on the front leg,
approximately one shoulder-width from the rear leg. Toes of front foot facing forwards, flat on ground with heel of foot
raised. Crouching slightly, with front leg in center of body, bent a little at the knee. Torso erect
Kokutsu Dachi ( koe-coot-sa da-chee) Back stance
Rear knee bent, with foot facing to the outside. Forward leg approximately tow shoulder-widths in front of and
perpendicular to rear foot (i.e. facing forwards). 70% of weight on rear leg, 30% on front
Sanchi Dachi (sahn-cheen da-chee) Hourglass stance
Feet shoulder-width apart, weight evenly distributed over both legs. Knees tensed and pulled inwards. Forward
foot slightly ahead of rear foot, so that instep of front foot aligns with the front of the rear foot. Toes pointed slightly inward.
Back straight and hips tensed, with pelvis pulled forwards and upwards.
Blocks
Gedan-Bari (gee-don ba-rye) Down block (low)
Chudan-uke (choo-don ooh-key) Inside block (middle)
Gaki (ga-key) Grab
Soto-ude-uke (soe-toe-ohh-dee ooh-key) Outside block (high)
Age-uke ( ah-gee ooh-key) Rising block
Hand Techniques
Seiken Zuki (say-can zoo-key) Corkscrew punch
Tate (tah-tay) Vertical punch
Udekin (ooh-dah-kin) Inverted punch
Reiken (ray-ken) Backfist strike
Shuto (shoe-toe) Knife hand chop
Shotei (show-tay Palm heel strike
Nukite (new-kit-tay) Finger strike
Empi (em-pay) Elbow strike
Yama (yah-mah) U-punch
Tettsui (tet-soo-ee) Hammerfist strike
Foot techniques
Mae Geri (may gary) Front snap kick ball
Yoko Geri (yoh-koh gary) Side snap kick heel/edge
Ushiro Geri (you-sheer-oh gary) Back snap kick heel
8

Mawashi Geri (may-wash-ee gary) Roundhouse kick ball
Mikazuki Geri (mega-soo-kee gary) Crescent kick (to outside) edge/side
Fumi Komi Geri (foo-ma koh-mee gary) Stomp kick heel
Haku (hah-koo) Crescent kick (to inside) sole
Mae Tobi Geri (may toe-bee gary) Front flying kick ball
Yoko Tobi Geri (yoh-koh to-bee gary) Side flying kick heel/edge
Kogeki (the walking stances)
1. Walking in zenkutsu dachi
2. Walking in kiba dachi
3. Walking in neko dachi
4. Boxer
5. Yoko geri with skip
6. Yoko geri with choi-kyu
7. Ushiro geri with choi-kyu
8. Yoko geri and ushiro geri with choi-kyu
9. Alternating choi-kyu (Rev. Foster shuffle)
Five Principles of Power
1. Stance
2. Hip rotation
3. Action/reaction
4. Breathing/Kiai
5. Speed
The principles of power are the foundations of the mechanical aspects of EVERY technique you will learn.
9

Okinawan Shorei-Kempo General Terminology
Bo Wooden staff 5-6 ft. long
Bunkai Applications of kata movements
Dachi Stance
Dan High grade degree
Do Way or path
Dojo Training area
Geri Kick
Hajime Start
Ippon One point
Jitsu Art or method
Jo Wooden stick 4 ft. long
Karate Empty hand
Karate-ka Karate student
Kata Prearranged form
Kempo Fist law, fist way
Ki (Chi) Mind, spirit, energy
Kiai Spirit yell
Kime Focus (mental and physical)
Kiske Come to attention stance
Kobudo Ancient warrior art, usually refers to weapons
Kumite Sparring
Kyu Rank or lower class
Mai Front
Mate Wait or stop
Obi Belt
Orei Bow
Pinan Series of 5 kata formulated by Itosu in 1903
Sensei Teacher
Sempai Student teacher
Shotei Palm of hand
Shuto Edge of hand
Saika-tendon Lower abdomen “center”
Soto High (as outside block)
Te-uke Hook/elbow combination
Tori Attacker
Ude Middle
Uke Defender
Yoko Side
Zuki Strike
10

Kata List
Shorei One (Show-Ray One)
Shorei Me Gai (Show-Ray Ma-Gay)
Omoto Ten ( Oh-Moe-Toe Ten )
Karumpha (Ka-Room-Fa)
National Dance
Tai Ge Gai Dan (Tie-Chee Gay-Don)
Shorei Son Gai
Shorei Yo Gai
Shorei Go Gai
Pinan Ichi (Pea-Non Each) (Also Known as Henan in Chinese)
Pinan Ne (Pea-Non Knee)
Pinan Son (Pea-Non Sahn)
Pinan Yo (Pea-Non Yoh)
Pinan Go (Pea-Non Goh)
Neko Buto Ichi (Neck-Oh Boot-Oh Each)
Neko Buto Ne (Neck-Oh Boot-Oh Knee)
Neko Buto Son (Neck-Oh boot-Oh Sahn)
Neko Buto Yo (Neck-Oh Boot-Oh Yoh)
Neko Buto Go (Neck-Oh Boot-Oh Goh)
Neko Buto Twelve (Neck-Oh Boot-Oh Twelve)
Saifa (Sie-Fa)
Gai Sai (Gay Sie)
Anaku (On-A-Coo)
Basai Dai (Bai-Sai-Dye)
Nai Fu Chin (Kna-Foo-Chin) Motobu’s Kata
Seen Chin (Seen-Chin)
No Hi (No-High)
Ten Sho (Ten-Show)
Kan Ku Sho (Con-Coo Show)
Nan Dan Sho (Non-Don Show)
Go Pai Sho (Go-Pie Show)
Sei Pai (Say Pie)
Dan En Sho (Don En Sho)
Yin Yang Waza
Tai Chi Kata
11

The Kata
The katas are the essence of karate; without them karate would be the mere learning of various fighting and self-defense
techniques, expressing nothing and allowing for no aesthetic development. Katas are the distilled, concentrated wisdom,
understanding and experience of hundreds of great karate masters, translated into a language of rhythmical movement,
breathing, and peak awareness. When one begins to understand them, one glimpses a new world of untold internal riches.
Kata is sometimes defined as a set pattern of techniques both offensive and defensive which simulates a confrontation with
multiple attackers; the kata is much more than that. It pits the karate-ka against your toughest opponent . . . Yourself. While
the kata teaches you many things, most of its lessons have to do with yourself. When doing a kata your opponent is you. You
make or break the form. You are in control. The kata challenges you to reach for perfection, to surpass what you think of as
your limits, to exercise your mind and body at full capacity.
The best way to learn about kata is to practice – over and over and over . . . but here are a few things to keep in mind. You
cannot be successful unless you know what you are doing and why. Bunkai, which means “searching for meaning” or
“search for truth” is an important part of kata practice. It is important to explore the practical applications of each and every
move in your katas. Keep in mind as well that there is more than one possible application for each move. Although we should
be careful to preserve the integrity of the katas we learn, we should be creative in our interpretation of them. We should look
beyond the obvious interpretation and search for the hidden techniques buried in the katas.
Key Points to Remember when Practicing Kata:
There are four steps to follow as you learn a new kata:
1. Learn the schematics of the form (the basic moves and pattern of movement)
2. Learn the proper pace of the form
3. Learn to do the form without thinking
4. Become one with the kata (make it your own)
The following are the six essential elements of every kata:
1. Eyes (always look before you move in a new direction, look with intensity
2. Pace (every kata has a rhythm to be followed)
3. Breathing (inhale and exhale in the appropriate places)
4. Technique (crisp clean form is the backbone of a good kata and should not be
sacrificed for speed or strength)
5. Focus (concentrate fully on the kata, use expansion and contraction in the
appropriate places)
6. Kiai (should come from the belly, not the throat and must be done with intensity)
Source: York Karate website; Sensei Pere Urban – The Karate Dojo; Sensei Merriman – The Meaning of Bunkai: Kata,
hidden movements and principles
12

The Origins of Rank
In our dojo, rank is something no one is given. Each person earns their colors through personal achievement. Some
physical ability is required to progress through the ranks, but the real measure of achievement is the personal growth that is
attained, and not ones’ native physical ability. In early days, each student was given a white belt to hold up his gi pants. As
students practiced, rolled around and sweated, their belts would inevitably get dirty. The most practiced (and advanced)
had the darkest belts.
Hachi Kyu 8 th Kyu White Belt
Shichi Kyu 7 th Kyu Yellow Belt
Rok Kyu 6 th Kyu Green Belt
Go Kyu 5 th Kyu Blue Belt
Shin Kyu 4 th Kyu Purple Belt
San Kyu 3 rd Kyu 3 rd Degree Brown Belt
Ni Kyu 2 nd Kyu 2 nd Degree Brown Belt
Ik Kyu 1 st Kyu 1 st Degree Brown Belt
Shodan 1 st Dan 1 st Degree Black Belt
Nidan 2 nd Dan 2 nd Degree Black Belt
Sandan 3 rd Dan 3 rd Degree Black Belt
Yodan 4 th Dan 4 th Degree Black Belt
Godan 5 th Dan 5 th Degree Black Belt
Rikidan 6 th Dan 6 th Degree Black Belt
Shichidan 7 th Dan 7 th Degree Black Belt
Hachindan 8 th Dan 8 th Degree Black Belt
Kudan 9 th Dan 9 th Degree Black Belt
Judan 10 th Dan 10 th Degree Black Belt
13

Northern Yin Yang Do Karate Association
The patch design is based on the actual symbol (kanji) in Chinese and Japanese that stands
for the word “origin”. The branches and roots were further stylized to specifically represent
the belt (obi) and how it draped. The blue field represents the sky/future. The brown
represents the earth/past. The pine tree symbolizes strength and growth of the art as it is
now being taught. The roots symbolize Shihan Foster, his karate teachings, his passing on,
and his place in the earth and “origins” of what we study. The four tiers represent
Shihan St.Pierre (bottom), then his wife Linda, and finally his sons Chuck and Jim.
The eight branches represent the first eight schools: Mosinee, Wausau, Merrill,
Green Bay, Appleton, Madison, Sturgeon Bay and Eielson AFB Alaska.
A list of active dojos can be found at the Yin Yang Do Karate Associated website
www.yingyangdokarate.com
14