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Years 1998 to 2004 MALE/FEMALE KATA Division
| Year | # | DIVISION | 1st | 2nd | 3rd |
|---|---|---|---|---|---|
| 1998 | 41ST | MEN / WOMEN | HASHIGUCHI YUJI / FUJIWARA MIYOKO | IZUMIYA SEIZO / GUNJI MIYO | TANIYAMA TAKUYA / NAKATA TERUMI |
| 1999 | 42ND | MEN / WOMEN | TANIYAMA TAKUYA / FUJIWARA MIYOKO | IZUMIYA SEIZO / OSHIMA HITOMI | TAKAHASHI SATOSHI / NAKATA TERUMI |
| 2000 | 43RD | MEN / WOMEN | TANIYAMA TAKUYA / NAKATA TERUMI | IZUMIYA SEIZO / GUNJI MIYO | SHIINA KATSUTOSHI / OSHIMA HITOMI |
| 2001 | 44TH | MEN / WOMEN | SHIINA KATSUTOSHI / NAKATA TERUMI | TANIYAMA TAKUYA / HIRAYAMA YUKO | TAKAHASHI SATOSHI / AZUMA CHIHARU |
| 2002 | 45TH | MEN / WOMEN | TANIYAMA TAKUYA / NAKATA TERUMI | SHIINA KATSUTOSHI / HIRAYAMA YUKO | KOBAYASHI KUNIO / OSHIMA HITOMI |
| 2003 | 46TH | MEN / WOMEN | TANIYAMA TAKUYA / NAKATA TERUMI | KOBAYASHI KUNIO / OSHIMA KAORU | UBUKATA KOJI / ARAGAKI MISAKO |
| 2004 | 47TH | MEN / WOMEN | SHIINA KATSUTOSHI / NAKATA TERUMI | KOBAYASHI KUNIO / ARAGAKI MISAKO | TANIYAMA TAKUYA / HIRAYAMA YUKO |
50 years of Shotokan karate and martial arts experience. I specialize in Asai ryu karate which is based on JKA style Shotokan (plus White Crane kung fu techniques). Also I practiced Okinawa kobudo (nunchaku, sai, tonfa, 3 sectional staff and 7 chain whip). I hold seminars around the world to anyone so contact me if you are interested to learn Asai style karate. I am Technical Director and a Shihankai member of WJKA, 8th dan (WUKO and WJKA).
For the month of February we welcome our new members from:
Canada (2 new members)
Australia (1 new member)
England (2 new member)
Germany (5 new members)
USA (8 new members)
New videos will be uploaded soon for the categories:

The Founder & The Crew
Welcome to the new KarateCoaching website
As you can see we have worked behind the scenes to make your KarateCoaching experience even better.
1) improved the navigation dramatically - it is now faster, smoother and cleaner
2) videos are now available in a format for all devices including iPad, iPhone and smartphones
3) we have re-organized the categories in the new overview page
4) we added even more content and videos
5) as a great bonus we do offer now a blog and to make this even better we offer to all our member to send us their karate events, information or maybe even articles they want to share. We will put it up on our blog and share it with the world.
6) as a special bonus we are very proud to announce that Shihan Yokota has joined our team and will share his knowledge and experience. His section already has many videos will constantly grow and new videos & content will be added.
Come and join the movement. Become a member at KarateCoaching.com the leader in online education for Karatekas.
all the best
Your KarateCoaching Team
I am very proud to announce that KarateCoaching has access to the new re-print of Master Funokoshi's original book Karate Do Kyohan. KarateCoaching is working in cooperation with Tokon Martial Arts to fulfill your orders immediately. We can only highlight what a treasure this book in its full print is (not the shortened version that was published in the past) but we also need to mention that copies are limited so we highly recommend to place your order immediately as long as stock is still available.
Please order through the website of our partner Tokon.com
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Karate Do Kyohan – Master Text for the Way of the Empty-Hand
Written by Master Gichin Funakoshi – The complete original 1935 Japanese Edition
Translated into English with all of the original photos and artwork
8.5” x 11” Format – Softcover Edition
[/wpcol_1half_end]This classic Shotokan Karate Master Text has been printed for the explicit purpose of providing an exact reproduction of the complete original 1935 Japanese publication, preserving a historically accurate archive replica in the English language, that now can be experienced and enjoyed by all who can appreciate its significance.
This legacy, as is the true goal of Karate Do, is meant to be experienced with mind, body, and Spirit. Master Funakoshi's message is transmitted in these pages through philosophical thought, physical and mental practice methods, and most importantly, with manifest image. Each photograph of Master Funakoshi not only demonstrates the exact form and method of each technique, but is also an archetypal key to the spiritual path he followed and exemplified.
This book is a comprehensive guide for the study of karate and is credited as the foundation document of the modern day karate movement. Inner strength and personal character development are stressed through an active daily regimen of physical exercise and martial technique.
Kara-te Do Kyohan is Master Funakoshi's gift to mankind. An informed study will reveal that his focus in life was to share his knowledge and the benefits he acquired and experienced through a life of conscious self-discipline rooted in the principles of Karate Do.
Gichen Funakoshi (1868-1957) was born in Shuri, Okinawa and, as a boy, began training with Yasutsune Azato (Shuri-te) and Yasutsune Itosu (Naha-te). Through many years of diligent practice these two styles were blended and became what is known today as Shotokan Karate.
A Look inside:



The nunchaku (ヌンチャクin Japanese and 雙節棍in Chinese) is a traditional weapon of the Kobudo and consists of two sticks connected with a short chain or rope. I do not believe further introduction of Nunchaku is necessary as it became very popular among us by the Kung Fu movies in 70’s stared by Bruce Lee.
Out of a dozen or so different kinds of Okinawan Kobudo weapons such as Nunchaku, Sai and Tonfa, Nunchaku is most popular or known by the public. Less known factor is that Nunchaku can produce the most dynamic and versatile techniques among the Kobudo weapons due to its construction of having two sticks joined by a chain or a rope. The quick swings and striking motions are very sexy and many people remember the fight scenes of Bruce Lee. One can spin Tonfa pretty fast but it cannot beat the speed of Nunchaku. Sai can be a deadly weapon with its sharp end as it can spear through just about any protectors, but the destructive power of Nunchaku at a full impact of said to be over 500kg is far greater than Sai or Tonfa could produce. Not only it is fast and destructive but also it has another very exciting characteristic; flexibility of two sections. I am not saying Nunchaku is a better weapon than Sai, Tonfa or other Kobudo weapons. Just as one cannot say a certain style of karate is better than another, different weapons have their own particular uses and advantages thus cannot be compared by a simple set of observations. It is very unfortunate that modern day Shotokan (at least from what I know of) has dropped Kobudo from its regular training. I do not know the situation regarding this subject in other karate styles such as Shito-ryu, Goju-ryu and Wado-ryu, so I will discuss this subject only referring to Shotokan style organizations. There was a justifiable reason (at least then) why Kobudo was dropped but I will not go into this historic aspect of karate even though it is a very interesting subject. What I want to mention here today is that karate definitely lost a very effective and useful training tools when the masters decided to drop Kobudo from its regular syllabus. I do not think they were aware at that time of the seriousness and the amount of handicap and disadvantage this omission would bring. Shotokan style now is said to be very linear and lacks circular movements.
However, this claim is not true as one can observe the kata like (read more...)
Shihan Yokota has published numerous articles and books:
In the #47 issue (May ’96) of Shotokan Karate Magazine, late Steve Cattle wrote an article on this kata, Hangetsu. It was a needed and educational article. The title was “Hangetsu the neglected kata” where he pointed out that this kata was most unpopular. He claimed, “I feel it is a very neglected kata, generally because of the difficulty in performing the turns, the stance and its lack of beauty”. He concluded that the biggest reason why this kata is unpopular to the difficulty of turns and its stance, Hangetsu dachi. “The difficulty is in the turn, which is why I think it is neglected in competition as well as the actual stance difficulty”. I agree with most of his claims but I am afraid he has missed some key points. If you investigate the origin of this kata, you will discover the hidden history and the deep mysteries behind this unique kata.
Even though Shuri-te and Naha-te do not share the same kata, Hangetsu (Seisan/Seishan) is one exception. This kata is found in almost all styles including Wado, Shito, Goju, Uechi, Shorin, Ryuei, etc. I will attempt to put the facts together and make necessary comparisons to come up with the answers to many questions. By sharing those findings, I hope the readers will come to a new appreciation and understanding when he/she performs this unique and valuable kata.
There is another article that is definitely worth reading is found in the issue #49 (Nov ‘96). The title is “Inside Tension Stances” and the sub title, “Sanchin-dachi, Neko-ashi-dachi, Hangetsu-dachi” by John Cheetham, the chief editor of this magazine. It is a 3 page article explaining whata those inside tension stances are and how they are constructed. It touches the subject that is not frequently touched and I recommend all Shotokan practitioners to read it if they have not. Unfortunately, the detailed information of Hangetsu dachi and it s very uniqueness were not mentioned or described in this article. However, I can not blame the author at all. He probably has a set of all karate textbooks such as Dynamic Karate, Karate-do Kyohan and Best Karate, but he can find only the steps of Hangetsu kata and not much else. In fact, we can find very little information on how to do this kata properly or on the details of Hangetsu dachi. The author wrote, “ – hangetsu dachi is described in most books and by most instructors as a longer version of sanchin dachi with all the same points as sanchin.” That is how it skips the detailed description of Hangetsu dachi. I will attempt to bring out the hidden facts from the history and the comparison of this kata with the other Ryuha (styles) to fill the gap in this article. (read more...)
Shihan Yokota has published numerous articles and books:
Years 1978 to 1987 MALE/FEMALE KATA Division
| Year | # | DIVISION | 1st | 2nd | 3rd |
|---|---|---|---|---|---|
| 1978 | 21ST | MEN / WOMEN | OSAKA YOSHIHARU / KAWASHIMA HIROMI | YAHARA MIKIO / OSAKA KEIKO | NAITO TAKASHI / MORIYA HIROKO |
| 1979 | 22ND | MEN / WOMEN | OSAKA YOSHIHARU / KAWASHIMA HIROMI | OCHI HIDEO / MORIYA HIROKO | ISAKA AKIHITO / HAYAKAWA KEIKO |
| 1980 | 23RD | MEN / WOMEN | OSAKA YOSHIHARU / KAWASHIMA HIROMI | YAHARA MIKIO / MORIYA HIROKO | ISAKA AKIHITO / YAMAMOTO KIKUE |
| 1981 | 24TH | MEN / WOMEN | OSAKA YOSHIHARU / KAWASHIMA HIROMI | YAHARA MIKIO / MORIYA HIROKO | IMURA TAKENORI / HASHIGUCHI YUKO |
| 1982 | 25TH | MEN / WOMEN | OSAKA YOSHIHARU / KAWASHIMA HIROMI | YAHARA MIKIO / MORIYA HIROKO | AIHARA TOMOYUKI / HASHIGUCHI YUKO |
| 1983 | 26TH | MEN / WOMEN | OSAKA YOSHIHARU / MORIYA HIROKO | YAHARA MIKIO / YAMAMOTO KIKUE | FUKAMI AKIRA / EBIHARA FUMIYO |
| 1984 | 27TH | MEN / WOMEN | YAHARA MIKIO / NAKAMURA YOKO | KAGAWA MASAO / YAMAMOTO KIKUE | KOJIMA HIROMI / EBIHARA FUMIYO |
| 1985 | 28TH | MEN / WOMEN | KAGAWA MASAO / NAKAMURA YOKO | AIHARA TOMOYUKI / YAMAMOTO KIKUE | KOJIMA HIROMI / EBIHARA FUMIYO |
| 1986 | 29TH | MEN / WOMEN | KAWAWADA MINORU / NAKAMURA YOKO | IMURA TAKENORI / TANIZAKI TAKAKO | OTA YOSHINOBU / EBIHARA FUMIYO |
| 1987 | 30TH | MEN / WOMEN | KAWAWADA MINORU / NAKAMURA YOKO | AIHARA TOMOYUKI / MIMURA YUKI | HASHIGUCHI YUJI / MARUYAMA HIROMI |
Years 1988 to 1997 MALE/FEMALE KATA Division
| Year | # | DIVISION | 1st | 2nd | 3rd |
|---|---|---|---|---|---|
| 1988 | 31ST | MEN / WOMEN | HASHIGUCHI YUJI / MIMURA YUKI | IMURA TAKENORI / NAKAMURA YOKO | KAGAWA MASAO / KONO KEIKO |
| 1989 | 32ND | MEN / WOMEN | AIHARA TOMOYUKI / MIMURA YUKI | HASHIGUCHI YUJI / NAKAMURA YOKO | KAGAWA MASAO / KONO KEIKO |
| 1990 | 33RD | MEN / WOMEN | AIHARA TOMOYUKI / MIMURA YUKI | HASHIGUCHI YUJI / NAKAMURA YOKO | IMURA TAKENORI / AKIYAMA MIWA |
| 1991 | 34TH | MEN / WOMEN | AIHARA TOMOYUKI / MIMURA YUKI | IMURA TAKENORI NAKAMURA YOKO | HASHIGUCHI YUJI / GUNJI MIYO |
| 1992 | 35TH | MEN / WOMEN | IMURA TAKENORI / NAKAMURA YOKO | HASHIGUCHI YUJI / KONO KEIKO | AIHARA TOMOYUKI / GUNJI MIYO |
| 1993 | 36TH | MEN / WOMEN | IMURA TAKENORI / NAKAMURA YOKO | AIHARA TOMOYUKI / GUNJI MIYO | HASHIGUCHI YUJI / AKIYAMA MIWA |
| 1994 | 37TH | MEN / WOMEN | IMURA TAKENORI / NAKAMURA YOKO | HASHIGUCHI YUJI / GUNJI MIYO | AIHARA TOMOYUKI / OSHIMA KAORU |
| 1995 | 38TH | MEN / WOMEN | IMURA TAKENORI / NAKAMURA YOKO | HASHIGUCHI YUJI / GUNJI MIYO | AIHARA TOMOYUKI / NAKATA TERUMI |
| 1996 | 39TH | MEN / WOMEN | IMURA TAKENORI / NAKAMURA YOKO | HASHIGUCHI YUJI / GUNJI MIYO | AIHARA TOMOYUKI / NAKATA TERUMI |
| 1997 | 40TH | MEN / WOMEN | IZUMIYA SEIZO / GUNJI MIYO | HASHIGUCHI YUJI / NAKATA TERUMI | TERASHIMA HISASHI / OSHIMA HITOMI |