4 KYU - GREEN BELT
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WARNING: THIS PAGE COULD BE UPDATED AT ANY TIME, SO YOU SHOULD REVIEW IT OFTEN
Here you will find all the information you need to prepare you for your grading. This information includes your theory and your practical test. I hope this information helps you in giving you a better understanding about Kyokushin Karate and also give you a better understanding of your requirements and at the same time helps you to study and prepare for it.MEANING OF THE BELTS
Below you will find a possible interpretation of the symbolism of the belt colors. I hope this will give a further understanding the sense in which the Obi (belts) colors mean. Belts colors are not only to reflect growth in technique, but also in character.
The Green Belt
(Emotion and Sensibility)
At this level the students are beginning to have a
more deep control of the techniques and Basic Katas as well starting to learn
the more complexes techniques and Katas. The training at this level is more
harder and require more time and commitments. Here the students should achieve a
better control of his mind and body, also more endurance and a more deep
understanding and meaning of the techniques. The sparring is also more exigent.
The Green color is also the color of Balance, Growth, and Renewal.
CLICK HERE FOR A MORE DEEP MEANING OF THE GREEN BELT
WHAT YOU SHOULD KNOW FOR YOUR
KYOKUSHIN THEORY TEST
4 KYU - GREEN BELT
Below are some vocabulary you should be able to know in order to do your grading.
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vocabulary |
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Name |
Meaning |
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Midori - Obi Yonkyu Junbi or Taiso Junbi Undo or Junbi Taiso Kokyu Kokyu-ho Bo Bushi Bushido Goshin-Jutsu Kancho Ki Furi Furi Uchi / Kagi or Kage Tsuki Uchi Jodan Middle Gedan Uke Shotei Shotei Uke Shotei Jodan Uke Shotei Chudan Uke Shotei Gedan Uke Kakato Ushiro Mawashi Kakato Ushiro Geri Kakato Ushiro Mawashi Geri Ushiro Uchi Mawashi Geri Sashi-te Ryusui Happo Kawashi Kori Tanden Hikite Ashi (1) Ashi (2) Ashi Barai Sure Okuri (Suri) Ashi Fumi Ashi Okuri Ashi Ken Ura Kaiten Renraku Tai Sabaki Tai-Sabaki Ashi Ashi-Sabaki Ukemi Waza Ura Waza Taoshiwaza / Nagewaza Seishin Ryoku Iki no Chosei Enkei-Ippon Kime Ma-ai Sokutei |
Green Belt Four Kyu Exercises Preparatory Exercises Breathing Breathing Techniques Staff. Long stick weapon (approx. 6 ft. long). Warrior Way of the Warrior Techniques of Self Defense Chairman; Head of the Hall Life Force; Energy Swing or circular or round, Hook Strike; Swinging Strike Strike High Middle Low Block Palm heel palm heel Block High palm heel Block Middle palm heel Block Lower palm heel Block Heel (of the foot) Back or Rear Round house (circular) Back Kick delivered with the heel of the foot Back Roundhouse Kick / Heel spinning Kick Reverse Spinning Kick Blocking and moving forward into opponent Dodge tactic 8 directions Instep Lower Abdomen Retract Arm Foot or Leg (1) One Leg or Single Leg (2) Foot or leg sweep. Also called Ashi Harai Sliding To slide your feet along the floor Step (with a change of feet) Shuffle Step (sending foot) Fist Reverse, rear, reverse side or back Turn or Rotate Combinations. In relation to fighting combinations Body Movement, Evasion Body movement, shifting or evasion Foot Foot work Breakfall techniques Reverse Techniques Takedowns / Throws Mental Attitude Breath Control Circle and point Focus, Timing Interval, Distance (between opponents) Sole of the foot or hand |
YOU SHOULD KNOW AND HAVE A
SOUND UNDERSTANDING OF:
1.- All Techniques from White Belt
to 5th. Kyu.
2.- Seishin Ryoku (Mental Attitude)
3.- Iki no Chosei (Breath Control)
4.- Ma-ai (Interval, Distance)
5.- Enkei-Ippon (Circle and point)
6.- Kime (Focus, Timing)
7.- Tai-Sabaki (Foot work, body movement)
YOU SHOULD BE ABLE TO EXPLAIN:
- The meaning of Green Belt
Kyokushin Kata has its origins in :
Goju-Ryu (Chojun Miyagi) - Goju style is heavily influenced by Southern styles of what the people of the region did for their livelihood. Southern Chinese primarily worked around the rivers and rice fields, work that promoted upper body strength, therefore Ma-ai or fighting range is close, stability over mobility is stressed and upper body movements and breathing techniques with strong, stable stances are typical.
Shoto-kan (Ginchin Funakoshi) - Shoto-kan style is influenced by Northern Chinese Kempo. People of this area worked on the plains as farmers and hunters and traveled extensively by foot or horseback promoting lower body strength therefore Ma-ai or fighting range is mid to long range and economy of motion is stressed (straight line blocks and strikes, etc.)
Pinan Katas (OMOTE):
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Pinan Sono Ni : Movie, 1 Camera Movie, 3 Camera |
Tsuki No Kata:
Tsuki No Kata means fortune and luck. Good fortune does not come simply by waiting.
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Tsuki No Kata
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Tsuki no by its very name is a punching Kata (there is only one kick and just a few blocks in the entire Kata). The word Tsuki can also mean fortune and luck. Good fortune and luck does not come by waiting. For every punch in this Kata, envision that a personal barrier is being broken down. Strong, persistent effort directed at problems will bring good fortune.
Sanchin No Kata:
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Sanchin No Kata
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The Martial Arts, in particular Japanese have always enjoyed a deep relationship with Zen Buddhism. The aim of every Martial Artist is to "reach a stage of enlightenment" as is the message that flows from the practice of Buddhism. The two main ways to actually attempt to attain this "enlightenment" are the practice of "sitting Zen" and "standing Zen."
"Sitting Zen" is based on stillness and serenity, however, "standing Zen" is grounded in action and movement. Whilst the practice of each has it's own perspectives they both share a common internal reality. Kyokushin's Sanchin kata is "standing Zen". Japanese Swordsman and Zen monks in the Temple's of China both used "standing Zen" to help discipline , control and strengthen their physical and mental energies. Thus was born the martial arts training known as 'Sanchin keiko' (training/practice). Sanchin training is not found in all Japanese martial arts systems and is unique to Karate-Do. Many Okinawa Ryu of Karate-Do practice Sanchin Kata, however, Sanchin training is an integral part of Okinawa Goju Ryu. Sanchin Kata, is also commonly referred as being the oldest Kata in Karate-Do
"Uchi Ni Sei Araba, Onozuto Sotoni Arawaru" - (take care of the inner spirit, and it will naturally reflect on the outside)
Sanchin Kata is classed as a Heishugata, meaning that is literally a 'closed-hand kata'. This does not mean that the Kata is performed with the hands closed at all times! It implies that the body is in a constant state of tension throughout the Kata. Therefore the muscles are 'closed' or better still contracted. Only on completion of the Kata does the body return to it's normal state. During the entire execution of the Kata the body is in a constant state of tension and the tanden is the focus of concentration. This is not an easy task, however, with correct teaching and training, the benefits of Sanchin training are enormous. Your stamina, physical strength and breath control are enhanced. Tensho Kata is also classed as a Heishugata.
To fully understand and benefits from the Sanchin Kata it requires the consistent practice and guidance of a good teacher who has and understanding of Sanchin training methods and practice. At the early stages of Sanchin training focus must be placed on the co-ordination of the breath with the correct execution of the technique. There are two version/types of Sanchin kata, the Higaonna Kanryo Sensei Sanchin and the Miyagi Chojun Sensei Sanchin. The original version was Higaonna Kanryo Sensei Sanchin kata, which was executed with three steps forward, a 180º turn, four steps in that direction, another 180º turn, one step forward and then one step backwards. This version of Sanchin Kata was practiced and taught by another of Higaonna Kanryo Sensei's senior student Juhatsu Kyoda (1887 - ). Kyoda Sensei was the founder of To'on Ryu Karate-Do.
Miyagi Sensei developed his version of Sanchin Kata with no turns, but with three steps forwards and two steps backwards. Miyagi Sensei intention was to also be aware of, as well as able to execute uncomfortable, un-natural backward movements. Because moving backwards is not a movement one is accustomed to, one has to focus on what one is doing. Miyagi Sensei, being the genius he was, decided that if Sanchin Kata was the manifestation of the understanding of the body, movement and breath, then ALL aspect must be covered and therefore, even the un-natural backwards movements
The Benefits of Sanchin:
Breath is life! The first thing that we do when we are born is breath, and the last thing we do before we depart from this world is breath. Our vital organs depends on life giving oxygen and Sanchin training increases this oxygen supply. This helps our brain and nervous system to become sharp and more aware, thus improving ones concentration and kimé. The deep breathing pours fresh oxygen on our vital organs which will ultimately stimulate them and keep them in a healthy state. Teachers who has master this Kata will tell you how refreshing Sanchin training is to the body. This is so true as it gives one a feeling of physical and mental well-being. You should try to look for various location to practice Sanchin Kata. These locations sometimes provide challenges and sometimes a perfect compliment to the Kata. Waterfalls are ideal to practice Sanchin Kata. You should find a waterfall that you could stand under without being crushed to death, Even if the water is not as cold it will be a great challenge and a wonderful experience. The practice of Sanchin Kata in the water and on the sand is also a good form of training. The water provides enough resistance for you to concentrate on your Sanchin Dachi (stance). This is not so easy, however, with consistent Sanchin training you will be able to concentrate all your power in the tanden and perform solid Sanchin Kata even against the odds.
Body Alignment & Foot Movements:
It must be remembered that the idea behind the discussion about posture has nothing to do with good form, but rather about the correct method of breathing. Although good form will result in effective breathing. The correct alignment of our head, neck, spine and hips directly influences our breathing. Therefore our breathing depends on good posture. If you are in a confined space and in a fetal position our breathing becomes erratic and more shallow, as opposed to when we are standing upright. When in Sanchin Dachi, the shoulders must not be lifted, the spine must be straight, your chest must be open and your stomach muscles must be tightened. Your chin must be drawn slightly towards your chest, this enables the wind pipe to be most effective when inhaling or exhaling. The gluteus maximus (buttocks) muscles must also be tightened, but do not make too much of the often seen exaggerated lifting of the pelvis. This lifting in itself causes the shoulders to cave in, thus again affecting the breathing. There should be no unnecessary restriction placed on the body, eg. hips not on the same plane as the ground (horizontal).
From Musubi Dachi no kamae, do not step forward in Sanchin Dachi, but rather simultaneously sink your body and slide your right foot in a circular fashion into Migi Sanchin Dachi. Ensure that the heel of the front foot is in line with the toes of the rear foot. The width between the feet should be the width of your hips. Your toes should be gripping the floor by spreading the toes as far as possible and then grip the floor like the roots of a tree. This is known as "Tako Ashi". Both feet should be turned inwards, and the knees must be bent directly over the toes. The knees, as in all stances, must be pointing in the same direction as the toes are. The eyes must be fixed firmly forward as if gazing at a far mountain. The chest must remain open so that breathing is not restricted.
When stepping forward in Sanchin Dachi, the feet never lift up off the floor. The movement must be of a sliding nature with the feeling that only one sheet of paper can slide between your soles and the floor. This movement is termed "Suri Ashi". Keep your muscles tight when moving and use a circular sliding foot movement. Focus must always be placed on the heel when moving backwards in Sanchin Dachi. It must not lift off the floor - a common error! The muscles of the body must be tense during the entire duration of the Kata and the breathing must be co-ordinated with all foot movements. Sometimes the mind will tend to drift off, actively keep it alive and stimulated and always keep your tanden full of strength. Do not rush in your practice and remember consistent practice, focusing on the above, will make your Sanchin Dachi a natural movement for you.
The Breathing Methods:
Breath is life and life is breath. Not only in the martial arts, but in all sports and arts, correct breathing is essential. Sanchin breathing should always be performed slowly and without any restrictive movements. Always breath in through the nose and exhale through the mouth. In reality the air will go down your windpipe into the lungs, where it will enter into the blood to be circulated throughout our body. However, in sanchin Kata, you imagine that the air does not stop at the lungs, continues down towards the lower abdominal area (tanden). When breathing in do not lift the shoulders and imagine that you are actually 'smelling' the air.
There are four basic types of Sanchin ibuki (breathing):
Inhale quickly and exhale quickly;
Inhale quickly and exhale slowly until completely done;
Inhale slowly and completely, then exhale slowly and completely;
Inhale slowly and completely, then exhale quickly
The Sanchin Kata of Miyagi Chojun Sensei, utilizes the breathing method of number 3 which uses the slow and complete inhalation and exhalation. Higaonna Kanryo Sensei's sanchin ibuki could be classed as number 1, where one would inhale and exhale quickly and sharply.
MIYAGI SENSEI
SANCHIN IBUKI:
Breath deeply through the nose, without lifting up the shoulders, and imagine
the air flowing through your nostrils, up the front and around your head, then
down the neck and spine, and around the groin and up to the tanden, where it is
tightly coiled and locked. When you exhale, slowly expel the air from the tanden
up pass the solar plexus, up the wind pipe to the throat and out slowly from the
mouth. The tongue must be presses against the bottom row of teeth, so as to
provide a free flow out. On completion of exhalation, give a last strong push,
focusing on the tanden and all the muscles. The breathing and the movements of
the feet and arms must be coordinated throughout the performance of Sanchin
Kata. Keep the eyes fixed directly in front of you and avoid blinking. Some
teachers believed that for refreshment of the mind and body, Sanchin practice is
second to none.
HIGAONNA
KANRYO SENSEI SANCHIN:
Higaonna Sensei's
Sanchin ibuki was to inhale quickly and then to exhale quickly as well. The air
is not imagined to have taken the route as explained in Miyagi Sensei's ibuki
above, but rather to have taken a more direct route to the tanden. Entering the
nose, down the throat and windpipe and straight to the tanden. Therefore, Miyagi
Sensei's Sanchin Kata is relatively faster than Higaonna's Sanchin Kata, however
all the other principles remain the same.
Sanchin Kata must be practiced at every training session. Caution must be observed on the Sanchin ibuki required from children. They must not be asked to performed Sanchin ibuki with the same intensity as the adults. Their breathing should be less vigorous however all other aspects of Sanchin Kata, e.g. posture, co-ordination of movement and breath, must still be observed and performed correctly. There is absolutely no harm in introducing Sanchin Kata to children, as deep breathing has no harmful effects, however it must be taught correctly and scientifically.
Below you will find all what you need to know for your grading. It was designed to supply the students with information about theirs requirements for theirs grades. If you have any question regarding the requirements consult your teacher. The grading requirements in our school contain the following:
4th KYU - ( GREEN BELT )
NOTE: Please keep in mind that the students must pay the testing fees ($40) 2 weeks before they give the writing test. the testing fees is to cover the cost of the Belt and certificate.
Time in Classes : 47 Months ( one class a week - 2 hours class )
Theory :
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Essay: The Student should present and essay explaining their role and responsibility as an advanced belt. This essay must be complete and presented to the teacher the same day you give the written test. |
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Meaning of : -
Pinan Kata |
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Clear understanding of Ma-ai (Time and Space relationship. See the information below) |
MA-AI (
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Interval (between
opponents)
Ma-ai is the Japanese term that refers to space-time/rhythm and
distance relationships related to "Bridging the Gap". Is a
combination of the distance between you and your opponent and the speed of
movement that each possesses. Others influencing factors are size of the
participants and each opponent's fighting style. How one
gets from here to there is the real problem in effectively addressing
conflict, physical or otherwise. The optimum distance for the Ma-ai is
obviously different for each Karateka; however, there must be space enough for
unrestricted offense or defense.
Functions of Ma-ai that must be
intimately understood include distance, angle (X, Y, and Z axis),
rhythm, and speed. Understanding and applying this concept is
fundamental to be able to use effectively the techniques in Kumite and Goshin
Jitsu.
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Note: The Gap is the space between the two partners. "Bridging the Gap" is a dangerous exercise worthy of much study, and angular attack theory is central to success. Boxing, Judo, Karate, Kendo, and most other competitive arts focus in this area.
In
Kyokushin we use the following distances:
1.- So-ou-ma-ai (One step): This is the closest you can
get to your opponent and still maintain control.
2.- Yudo-ma-ai (One and a half steps): This is a median distance Ma-ai. By taking the extra half step backwards, you induce your opponent to step closer and possibly fall into a planned trap.
3.- Gendo-ma-ai (Two steps): This is a maximum controllable distance between two participants, by taking an extra step backwards from the So-ou-ma-ai, the Karateka gives himself a moment with which to plan his next move.
It is of utmost
importance that you constantly think about the Ma-ai as all the
techniques you are learning have been designed for the utmost
effectiveness in practice. Indiscriminate or unthinking attacks will
only lead to wasted movement and possibly loss of the fight.
As you become experienced at Kumite (sparring), you will appreciate
the advantages of the Ma-ai more and more. For example, the extra step
can make a difference between a blow thrown with momentum and one thrown
without momentum. Also, the extra distance gives you a chance to observe
an opponent's weakness and vulnerabilities.
When fully experienced, the Karateka alternates between the three types
of Ma-ai as the situation demands.
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50 Hands Push Ups |
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10 Knuckle Push Ups |
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10 Finger Push Ups (5 fingers) |
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10 Finger Push Ups (4 fingers) |
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10 Finger Push Ups (3 fingers) |
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10 Finger Push Ups (2 fingers) |
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Hands Stand (1 Minute) |
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40 Deep Knee Bends With Front Kick |
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Rabbit hop (1 Minute) |
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Jump Rope (3 Minute) |
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1Serie of Abdominal |
Stances - ( Dachi ) :
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Moro Ashi Dachi (Parallel staggered stance) |
Punches - Strikes ( Tsuki - Uchi ) :
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Furi Uchi (Hook Strike) |
Blocks - ( Uke ) :
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Shotei Jodan Uke (High palm heel Block) |
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Shotei Chudan Uke (Middle palm heel block) |
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Shotei Gedan Uke (Low palm
heel block) |
Kicks - ( Geri ) :
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Kakato Ushiro Geri |
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Kakato Ushiro Mawashi Geri |
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Ushiro Uchi Mawashi Geri |
Forms - ( Katas ) :
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Pinan Sono Ni (Movie, 1 Camera Movie, 3 Camera) |
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Tsuki No Kata
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Sanchin No Kata |
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Chion Bo Kata : Chion Bo Kata means "sounds knowledge". Sound knowledge is the base to achieving a goal. |
Three-step sparring - ( Sambon-Kumite ):
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Sambon Kumite # 1 to # 16 . Instead to use a basic punch as a counter attack, use different techniques to counter attack. Choose from all the techniques you have learned until now. |
Combinations - ( Renraku ) :
1.- Using basic techniques (
Kicks and hands techniques, striking and blocking )
Examples:
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Mae Geri / Mawashi Geri / Ushiro Mawashi Geri. |
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Oi Zuki / Gyaku Zuki / Mae Geri / Mawashi Geri / Ushiro Mawashi Geri. |
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Mawashi Geri / Ushiro Mawashi Geri / Mae Geri / Mawashi Geri / Ushiro Mawashi Geri. |
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Oi Zuki / Gyaku Zuki / Mawashi Geri / Ushiro Mawashi Geri / Mae Geri / Mawashi Geri / Ushiro Mawashi Geri. |
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Mae Geri / Step in laterally (Ushiro Kakeashi Dachi) / Mae Yoko Geri / Mawashi Geri / Ushiro Mawashi Geri. |
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Oi Zuki / Gyaku Zuki / Mae Geri / Step in laterally (Ushiro Kakeashi Dachi) / Mae Yoko Geri / Mawashi Geri / Ushiro Mawashi Geri. |
Self Defense - ( Goshin Jitsu ) :
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Ippon Kumite ( One-step sparring, from #1 to #
16 ).
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Gyakute (Grappling,
Wrestling, Joint locking) |
Sparring - ( Kumite ) :
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Six Sparring of 2 minutes |
Breaking - (Tameshiwara) :
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2 Boards (Hand strike and Kick). Students must provide the board one week before test. The Boards must be: Pine12 X 12 inches (or 12 X 10 inches if you can not found 12" X 12"). You must bring at least 4 Boards. |
The students should be able to execute the techniques using any of the
stances. The Idogeiko must be able to be executed in Ura. Also the students would be tested on any techniques from previous belt.
WARNING: THIS PAGE COULD BE UPDATED AT ANY TIME, SO YOU SHOULD REVIEW IT OFTEN
STANCES AND WEIGHT
DISTRIBUTIONS (DACHI)
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Moro Ashi Dachi (Right) |
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Wight Distribution |
Moro Ashi
Dachi:
The feet are positioned approximately shoulder width apart. One foot is then
positioned approximately 5cm in front of the other with the knees slightly bent.
The body weight should be distributed equally on both feet. this stance is a
quick and mobile stance used for all attacks and defenses (e.g. kicks, punches,
strikes and blocks)
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FURI UCHI |
BLOCKS WITH PALM HEEL (Shotei)
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| SHOTEI JODAN UKE | SHOTEI CHUDAN UKE | SHOTEI GEDAN UKE | |
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| Normal Kakato Ushiro Geri perform
from Fudo Dachi (Side view) |
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KAKATO USHIRO GERI (Fudo Dachi) Method 1: Step across |
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| Fudo Dachi | Step across | (Spin) Kakato Ushiro Geri (Right) |
Kick left | Fudo Dachi |
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KAKATO USHIRO GERI (Fudo Dachi) Method 2: Spin |
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| Fudo Dachi | Spin | Kick Right | Fudo Dachi |
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KAKATO USHIRO GERI (In Kake Dachi) Method 3: Kake Dachi |
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| Moro Ashi Dachi (Left) | Step forward into Kake Dachi | Kick Left | Step back into Kake Dachi |
Step back into Moro Ashi Dachi (Right) |
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KAKATO USHIRO GERI (In Kumite Dachi) |
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| Fighting stance | (Spin) Kakato Ushiro Geri (Right) |
Fighting stance |
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USHIRO MAWASHI GERI (Executed from Kumite Dachi) |
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| Fighting stance | (Spin) Ushiro Mawashi Geri (Left) |
Fighting stance |
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USHIRO MAWASHI GERI (Executed from Zenkutsu Dachi) |
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SIDE VIEW |
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Ushiro Mawashi Geri
This is a powerful spinning
back kick with excellent
reach. Can be used with relative safely in competitions to
Jodan level by the skilled practitioner when
striking the
target using
Sokutei
(Sole of the foot). You can have a more devastating results by striking
with
Kakato (heel) .
When performed quickly it can be difficult for the opponent
to determine whether the
kick being performed is
Ushiro
Mawashi Geri or
Kakato Ushiro Geri (which is normally performed at
Chudan level).
Detailed Description
Starting from
Zenkutsu Dachi:-
Initiate the
turn
by twisting your hips anticlockwise and simultaneously
pivoting on the balls of both feet.
Turn
your body anticlockwise and move 90% of your weight onto
the
right foot .
Turn
your head
anticlockwise as far as it will
go
and start looking for the target.
Lift your
left leg from the ground and bring your
left knee up high and to the
side . At this point you should be able to see
your target over your
left shoulder .
Extend your leg and continue turning (by rotating on
the ball of the supporting foot) so your kicking foot
sweeps high and comes across to the
Jodan target with a sideways motion. Exhale and
momentarily tense your muscles as your foot strikes the
target (using either
sokutei
or kakato). Keep your supporting leg very slightly bent
and with the
heel firmly on the ground for stability during
impact. A line drawn between your
right toes and your
right heel should have rotated to
point just before or exactly towards the opponent. In
competitions it is acceptable to lift the
heel slightly to gain extra distance or height.
After
striking the target withdraw the leg and foot
directly towards your body (your leg gives some
protection against an opponents counter attack) while
twisting your hips further anticlockwise and rotating
further on the ball of the supporting foot.
Step down again into Zenkutsu Dachi keeping your hands in the normal guard position.
For more information contact your teacher, sensei Angel Carrasco at: angel@kyokushincanada.com
GO TO THE MAIN PAGE OF WINNIPEG KYOKUSHIN KARATE - DOJO ENTHEOS
