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Fifteen Upper Body Exercises: (Advanced Understanding)

The upper body techniques or “Chart-One” are not original to Isshin-ryu karate.  They were a training tool commonly used in Okinawa karate. Funakoshi sensei turned this training exercise into a kata named Ten-No-Kata. What makes Isshin-ryu’s upper body exercises unique are the last six. The last six contain what I believe to be Shimabuku sensei’s advanced theories of fighting, or the secrets to Isshin-ryu. These theories range from angular attacks, non-hand strikes, and to multiple blows. In this section we will more closely examine the upper body exercises, and the theory of fighting they hold inside.

Traditional karate schools used a block then punch methodology to train beginning students. The upper body techniques train, even the beginning student, on the fundamental need to block and strike without hesitation. One must always follow the other as if they were the completion of a singular movement.

The upper-body techniques or Chart-One techniques also incorporate modification made to the way the Isshin-ryu punches and locks were delivered. The vertical punch is attributed to Shimabuku, but it was the traditional punch taught to him by Chotoku Kyan sensei his teacher. He did however turn it slightly more vertical. This punch is still taught by the Shorin-ryu schools of the Seibukan. He did however deviate from the way Okinawan instructors taught the traditional blocking techniques. The impact was spread over the top of the forearm and not the sides. Doing this utilizes the muscular padding, of the forearm, and spreads the impact across the two bones of the forearm. His change, to this block, is also in dispute according to a high ranking Shorin-ryu instructor. According to him all blocks are supposed to take the impact across the top of the forearm, and then the forearm is quickly rotated to cut pressure points after the blow has been stopped from reaching its target. Americans following instructor-do and student-follow teaching saw the block being made with the side of the forearm. There are many traditional schools, on Okinawa, that do teach blocking with the side of the forearm.

  1. Step Forward Right Punch Right
  2. Step Forward Left Punch Left
  3. Step Forward Right Punch Right
  4. Step Forward Left Punch Left

Note: Many Isshin-ryu schools do not step forwards twice. They step forward on one side then step backwards before moving to the opposite side. Next they perform the same technique on the opposite side. Limited space can dictate how these exercises are performed.

This is the first push pull motion taught to every karate beginner in every karate class. It is also the first motion that develops the body’s motor-pathways or what “AOKK karate calls the Body-Mind Connection.” Other instructors may refer to this as muscle memory. The key component in this exercise is the push-pull movement with one hand moving forwards and the other moving backwards. This motion was demonstrated to me, and even called the push-pull motion, when I first began training in the seventies, but there was no explanation why we place or rear hand on the obi. The why is… you’re pulling the attacker into the punch or preventing them from moving away from your blow.

Still others believe that the combination is a redirection of an attacker’s punch followed by a counterpunch. They contend that the hand returning to the obi blocks a punch opening the attacker to your counter blow. This fits with the AOKK.s belief that term blocking is a bad definition of what is happening within the blocking technique. A block implies a stopping of an attack, but in reality, it only redirects the energy from the offender’s blow. An object moving in a straight line continues to move in a straight line unless acted upon by an unbalancing force (law of inertia). A block would be like a baseball catcher stopping a pitcher’s throw. The energy of the ball is shared upon impact between the ball and the glove, so the velocity of the ball and the glove are the same at impact. This is an inelastic collision where the ball and glove stay in contact. What a karate block does is more like an elastic collision where there is no loss of kinetic energy, or like when you’re playing pool and the cue-ball impacts the eight-ball and they are sent in different directions. The key is to not absorb all the impact but share it so that you can move the attacker’s blow in a desired direction.

Upper-body number one looks like a simple exercise to teach the student to move forwards and deliver a lead hand punch, but sometimes punches can be blocks and sometime the hand that is returned to the hip can become a block. This movement can also be a grabbing of the opponent for control. Advanced students must not become one dimensional. A punch is not always a punch, and a block is not always a block.

Theory of (UB1) Upper-body #1: “Controlling the Opponent’s Movement.”

 (UB1 Basic Drill #1) Grasp & Punch.

The reason the fist is placed upon the obi is because you’re pulling the opponent off balance and into your punch. You grab someone to control their movements. To prevent the opponent’s escape or their retreat which would minimize the effect of the blow to the solar plexus you grab the adversary and pull them into the punch. Best control is when you grasp the obi, but sometimes all you can grasp is their wrist. A yank forwards on the opponent’s obi can place pressure on their spine and if done quickly enough can introduce pain. Combine these two techniques and the simple punch to the solar plexus becomes more devastating.

The grasp can also be with the lead and rear hand. Grasping the attacker’s pectoral muscle can inflict pain while controlling and breaking the attacker’s balance with the rear hand. Grasping the attacker’s wrist and lapel using this same motion will cause the opponent to turn.

Another theory is that the rear hand or the hand moving to the obi is a blocking or redirection of motion movement. This hammer fist block redirects the blow and opens to opponent for a counterattack.

(UB1 Basic Drill #1) Trap and Punch Technique

  1. Attacker: Punches Right
  2. Defender: Traps the Punch (with rear hand)
  3. Defender: Punches the Attacker’s Solar-Plexus

Theory of (UB1) Upper-body Drill #2: “Blocking with the Retreating Hand.”

Not every placement of the hand on the obi is indicating a grasp and control of the opponent. A few Isshin-ryu instructors believe that the returning fist to the obi is a block.

(UB1 Basic Drill #2) Hammer Fist block & Punch

  1. Attacker: Punches Right
  2. Defender: Hammer-fist Block the Attacker’s Punch (with rear hand as it goes to rest on obi)
  3. Defender: Punches the Attacker’s Solar-Plexus

Theory of (UB1) Upper-body Drill#2: “Pectoral Muscle Clamp or Tiger Mouth”

Not every punch is always a punch. Just because the fist is closed does not always indicate a strike. An Okinawan kenpo instructor told me he believes that the lead fist can be a grasp of the pectoral muscle. This is a very painful technique when applied properly. I’ve added the example so that the student might understand that not everything in the martial arts is what it appears to be.

(UB1 Basic Drill #3) Pectoral Clamp or Tiger Mouth Technique

  1. Attacker: Punches Right
  2. Defender: Traps the Punch (with rear hand)
  3. Defender: Strikes the Attacker’s Chest (Plam-heel strike)
  4. Defender: Clamps Fingers around Attacker’s Pectoral Muscle

Upper Body #2 (UB2) Introduction of Ura-Zuki

  1. Step Forward Right Uppercut Right
  2. Step Forward Left Uppercut Left
  3. Step Forward Right Uppercut Right
  4. Step Forward Left Uppercut Left

In American boxing this technique is used frequently. Boxers call this technique an upercut. This punch is not common in most Okinawan systems. Gichin (Get-Chin) Funakoshi used a high punch instead of this punch in Ten-No-Kata. This however is a very useful technique and has led to many knockouts inside and outside the boxing ring.

I’m not sure if this modification, from the way it appears in Ten-No-Kata, was changed by Itosu sensei, for teaching school children, and was later adopted by Funakoshi sensei for Ten-No-Kata, or if this was another of Shimabuku’s innovations. It is however a very viable technique and makes Isshin-ryu a better method of fighting.

The reason the technique makes kumite (fighting) more effective in that it opens up your arsenal of weapons. One fighting strategy is to go under and between an attacker’s arms while in the guarding position. Most karate schools teach very linear attacks, and that makes this strategy more difficult. Using only linear techniques violate the theory of eight angles of attack used in every system of combat. The eight angles of attack are emphasized when one is taught weapons, but not as much in empty hand combat, yet the theory is still applicable. An attack must be able to go around, over, under, and straight ahead to be effective. Shimabuku understood this and took the high straight linear punch found in Ten-No-Kata and turned it into an uppercut making his upper-body weapons more versatile and effective.

  1. Step Forward Right Uppercut Right
  2. Step Forward Left Uppercut Left
  3. Step Forward Right Uppercut Right
  4. Step Forward Left Uppercut Left

In American boxing this technique is used frequently. Boxers call this technique an upercut. This punch is not common in most Okinawan systems. Gichin (Get-Chin) Funakoshi used a high punch instead of this punch in Ten-No-Kata. This however is a very useful technique and has led to many knockouts inside and outside the boxing ring.

I’m not sure if this modification, from the way it appears in Ten-No-Kata, was changed by Itosu sensei, for teaching school children, and was later adopted by Funakoshi sensei for Ten-No-Kata, or if this was another of Shimabuku’s innovations. It is however a very viable technique and makes Isshin-ryu a better method of fighting.

The reason the technique makes kumite (fighting) more effective in that it opens up your arsenal of weapons. One fighting strategy is to go under and between an attacker’s arms while in the guarding position. Most karate schools teach very linear attacks, and that makes this strategy more difficult. Using only linear techniques violate the theory of eight angles of attack used in every system of combat. The eight angles of attack are emphasized when one is taught weapons, but not as much in empty hand combat, yet the theory is still applicable. An attack must be able to go around, over, under, and straight ahead to be effective. Shimabuku understood this and took the high straight linear punch found in Ten-No-Kata and turned it into an uppercut making his upper-body weapons more versatile and effective.

Theory of (UB2) Upper-body Drill #1: “Lead Hand Uppercut”

This is an offensive drill design to teach the punching student to see the opening in the opponent’s guard.  There is always an opening between the attacker’s elbows. The guarding student must learn how to turn their shoulder to minimize this opening.

 (UB2 Basic Drill #1) Uppercut with Lead Arm

  1. Attacker: Remains in Guarding Position
  2. Defender: Fakes a Straight-Right
  3. Defender: Uppercuts Between Attacker’s Arms

Note: This will require a slight dip of the shoulder to execute. The punch is driven upwards by your legs. This is not a power technique, but it can open up the attacker for a power punch.

Note: The attacker will close his/her guard to block this technique. It should be practiced with gloves to protect the student’s hands. Both attacker and defender begin to understand their rolls in this drill. You are not always the defender, nor are you always the attacker. Both skills need to be honed.

Theory of (UB2) Upper-body Drill #2: “Trap and Attack”

This is an offensive drill design to teach the punching student to see the opening in the opponent’s guard.  There is always an opening between the attacker’s elbows. The guarding student must learn how to turn their shoulder to minimize this opening.

 (UB2 Basic Drill #2) Trap and Punch Technique

  1. Attacker: Punches Right
  2. Defender: Traps the Punch (with lead hand)
  3. Defender: Punches the Attacker’s Chin

Theory of (UB2) Upper-body Drill #2: “Blocking with the Retreating Hand”

Not every placement of the hand on the obi is indicating a grasp and control of the opponent. A few Isshin-ryu instructors believe that the returning fist to the obi is a block.

(UB2 Basic Drill #3) Hammer Fist block & Punch

  1. Attacker: Punches Right
  2. Defender: Hammer-fist Blocks the Punch (with rear hand and rests on obi)
  3. Defender: Uppercuts Between Attacker’s Arms

Upper Body #3 (UB3)

  1. Step Forward Right Punch Left
  2. Step Forward Left Punch Right
  3. Step Forward Right Punch Left
  4. Step Forward Left Punch Right

Upper-body three teaches the fundamental reverse punch. This is the knockout or power punch. In boxing this is called a straight-right or cross.

Using the rear weapon, allows the body to be fully engaged in the creation of power. To create power you need hip and shoulder rotation coupled with weight transfer from the back leg to the front leg. All these components must be in sync to generate maximum power. Power generation is fundamentally understood by all styles of karate. All rotation and weight transfer stops shortly after impact.

Theory of (UB3) Upper-body Drill #2: “Trapping with the Rear Hand”

(UB3 Basic Drill #1) Trap and Punch Technique

  1. Attacker: Punches Right
  2. Defender: Traps the Punch (with lead hand)
  3. Defender: Reverse Punches the Attacker’s Solar-Plexus

Theory of (UB3) Upper-body Drill #2: “Blocking with the Retreating Hand”

Not every placement of the hand on the obi is indicating a grasp and control of the opponent. A few Isshin-ryu instructors believe that the returning fist to the obi is a block.

(UB3 Basic Drill #2) Hammer Fist block & Punch

  1. Attacker: Punches Right
  2. Defender: Hammer-fist Blocks the Punch (with rear hand and rests on obi)
  3. Defender: Reverse Punches the Attacker’s Solar-Plexus

Upper Body #4 (UB4) Ura-Zuki

  1. Step Forward Right Uppercut Left
  2. Step Forward Left Uppercut Right
  3. Step Forward Right Uppercut Left
  4. Step Forward Left Uppercut Right

Upper-body four teaches the student to execute ura-zuki or uppercut from the power side of the fighting stance.

Theory of (UB4) Upper-body Drill #1: “Rear Hand Uppercut”

The Uppercut can be an offensive technique. Karate is for defense only, but sometimes a good offense is the best defense.

(UB4 Basic Drill #1) Rear-hand Uppercut

  1. Attacker: Remains in Guarding Position
  2. Defender: Throws a Jab or Back Knuckle
  3. Defender: Uppercuts Between Attacker’s Arms with Power Arm

Note: This will require a quick rotation of the shoulder to execute the back knuckle strike. The punch is driven upwards by your legs. This is a power technique and can drop your opponent if they’re struck under the jaw.

Note: The attacker will close his/her guard and rotate their shoulders to block this technique. It should be practiced with gloves to protect the student’s hands. Both attacker and defender should begin to understand their rolls in this drill. You are not always the defender, nor are you always the attacker. Both skills need to be honed in a life preservation situation.

Theory of (UB4) Upper-body Drill #2: “Blocking with the Retreating Hand”

Not every placement of the hand on the obi is indicating a grasp and control of the opponent. A few Isshin-ryu instructors believe that the returning fist to the obi is a block.

(UB3 Basic Drill #2) Hammer Fist block, Low Block & Punch

  1. Attacker: Punches Right
  2. Defender: Hammer-fist Blocks the Punch (pushes fist downwards)
  3. Defender: Rotates hips and shoulders Punching under the Attacker’s chin

Upper Body #5 (UB5)

The rudimentary upper body five is simply a low block and counterattack. Digging deeper we see that first action is to step backwards. This increases the distance between attacker and victim. Moving backwards allows your brain more time to determine the best course of action. The sweeping motion of the arm across the trunk of the body allows for redirecting of many different types of punches. Because it sweeps below the belt line it can also be used against kicking techniques.

(UB5 Basic Drill #2) Hammer Fist block, Low Block & Punch

  1. Attacker: Punches Right
  2. Defender: Hammer-fist Blocks the Punch (pushes fist downwards)
  3. Defender: Low blocks to open the attacker’s centerline targets (low block strikes the top of the attacker’s forearm pulling the head forwards) (clearing technique)
  4. Defender: Rotates hips and shoulders Punching the Attacker’s face

Theory of (UB5) Upper-body#5: “Outside the Blocking Box”

The blocking box refers to the target areas of the upper body. These targets fit within a box like area. Protection of these vulnerable target areas is prime for the karateka. Middle forearm blocks and cross-body parry blocks are the most effective means of protection for this part of the body, but there are times we are forced to move outside the blocking box. Being outside the blocking box is an anomaly during in-close fighting. This occurs when blows are delivered high or low. If you have an adversary that is taller than you, the high block can be very effective. Also, on occasion you will need to stop a low strike like a knee with a low block. Normally we block legs with legs and use our arms to protect the upper body, but sometimes in a fight you need to go outside the box.

(UB5 Basic Drill#3) Four Stage Blocking with a Low Block.

Note: Stances can be right or left leg forwards. This drill also uses the cross-body parry block found in upper body fourteen.

  1. Attacking student delivers: Left Jab
  2. Defending student: Right Horizontal Parry Blocks the Jab
  3. Attacking student delivers: a Right Cross or Straight Right
  4. Defending student: Left Horizontal Parry Blocks the Cross or Straight Right
  5. Attacking student delivers: a Left Hook
  6. Defending student: Right Middle Forearm Blocks the Left Hook
  7. Attacking student delivers: a Right Hook
  8. Defending student: Left Middle Forearm Blocks the Right Hook
  9. Attacking student delivers: a Right Leg Knee Strike.
  10. Defending student: Left Low Blocks
  11. Defending student: counterattacks with a Left Uppercut

Note: When your blocks go outside the blocking box your defense is stretched making attacks easier. This why low attacks need to be stopped with your legs and high attacks through body evasion.

Upper Body #6 (UB6)

Theory of (UB6) Upper-body#6:  “Within the Blocking Box”

Blocking two punches with the lead hand is ideal, and with practice it becomes easier. Any deflection of a blow reduces its’ sting. Upper-body six in its simplest form uses the closed fist forearm block, and focuses on only one punch being delivered. In the advanced series we expand the blocking skills of the student. The forearm block is made with the open hand and the same arm uses the open hand to stop or redirect a second attack. Again, UB6 steps backwards to increase the distance between you and your opponent.

(UB6 Basic Drill #2) Hammer Fist block, Middle Block & Punch

  1. Attacker: Punches Right
  2. Defender: Steps backwards to create distance
  3. Defender Hammer-fist Blocks the Punch (pushes fist downwards)
  4. Defender: Middle blocks to open the attacker’s centerline targets (middle block strikes to the top of attacker’s punch at the elbow) (clearing technique)
  5. Defender: Rotates hips and shoulders Punching the Attacker’s Solar-Plexus

(UB6 Basic-Drill#3) Lead Hand Blocking Only:

  1. Attacking student: delivers a Right hook & Left hook or a Straight Left.
  2. Defending student: Middle forearm blocks the Right hook & Left hand parry blocks the attacker’s Left hook with the same hand.

Note: The student must develop the ability to single hand block multiple strikes before adding a counterattack.

(UB6 Basic Drill #2) Hammer Fist block, Middle Block & Punch

  1. Attacker: Punches Right
  2. Defender: Hammer-fist Blocks the Punch (pushes fist downwards)
  3. Defender: Middle blocks to open the attacker’s centerline targets (middle block strikes to the top of attacker’s punch at the elbow) (clearing technique)
  4. Defender: Rotates hips and shoulders Punching the Attacker’s Solar-Plexus

(UB6 Basic-Drill#3) Lead Hand Blocking with Counterattack:

  1. Attacking student: delivers a Right hook & Left hook or a Straight Left.
  2. Defending student: Middle forearm blocks the Right hook & Left hand parry blocks the attacker’s Left hook with the same hand.
  3. Defending student: delivers a straight right to the attacker’s face.

Attacking the Blocking Box:

This is for advanced students fighting other advanced students that understand the concept of the Blocking Box. The blocking box is mainly designed to stop straight or horizontal circular blows. To attack the box you must attack it from above or below because it is designed to be attacked straight on or horizontally. Horizontal circular strikes are slow so they can be detected and stopped by Blocking Box techniques. Straight punches are faster, but the student practices constantly to stop this type of attack. However, there is less emphasis placed on stopping strikes attacking the bottom of the box or techniques going over the top of the box.  There are times you can force the karateka outside the box and when you do their defense is weakened

Upper Body #7 (UB7)         

Funakoshi sensei replaced this truly Okinawan technique with shuto (knife-hand) blocks in Ten-No-Kata.  Systems like Uechi-ryu heavily employ this very Chinese technique. It is found in Isshin-ryu’s Wansu Kata. Where the shuto block is limited the mawashi-uki or circular block is multifaceted. The circular nature of this block allows the karateka to redirect any blow to their trunk with one sweeping motion. It circles from the groin to the face. It redirects the attacker’s blow outside your body. To properly execute this blow the shoulders first slightly rotate sideways to protect the centerline targets. Then the forearm sweeps away the attack as the shoulders are once again squared. The top of your forearm makes first contact. The impact is spread across the musculature of the forearm and two bones of the forearm. As the forearm continues to rotate contact is transferred to the side of the forearm. This can be used to cut pressure points. This is a very powerful block.

(UB7 Basic-Drill#1) Mawashi-uki Trap:

  1. Attacking student: grabs lapel to punch.
  2. Defending student: Swing your arm inside the attacker’s grasp and upwards.
  3. Defending student: wrap your arm around the attacker’s arm going under the elbow. Trap his/her hand with your armpit.
  4. Defending student: continue the wrap until your forearm is under the attacker’s biceps muscle.
  5. Defending student: with your hand tie-off by grasping the opponent’s clothing.

Note: This locks the attacker’s elbow and prevents their escape.

(UB7 Basic-Drill #1) Trapping and Counterattack:

  1. Attacking student: grabs lapel to punch.
  2. Defending student: traps attacker’s hand and punches to the attacker’s chin.

Note: The moment someone grabs you they’ve assaulted you, and you can retaliate. When someone grabs you, it is to control you. In this exercise it is punch you and the grasp is to keep you from getting away.

  1. Defending student: wrap your arm around the attacker’s arm while he/she grasps your shoulder.

Note: The moment looks like the mawashi-uke block, but it is a trap and locking technique. Tie-off to their clothing. Your forearm should be under their biceps muscle.

  1. Defending student: drive a horizontal elbow strike to the attacker’ head

Note: Whip the attacker around and over your rear leg. You can reap their support leg if you’re proficient with that type of throw.

(UB7 Basic-Drill #2) Trapping, Choke, and Throw:

  1. Attacking student: grabs lapel to punch.
  2. Defending student: traps attacker’s hand and punches to the attacker’s chin.

Note: The moment someone grabs you they’ve assaulted you, and you can retaliate. When someone grabs you it is to control you. In this exercise it is punch you and the grasp is to keep you from getting away.

  1. Defending student: wrap your arm around the attacker’s arm while he/she grasps your shoulder.

Note: The moment looks like the mawashi-uki block, but it is a trap and locking technique. Tie-off to their clothing. Your forearm should be under their biceps muscle.

  1. Defending student: delivers a tiger-mouth strike and choke to the opponent’s throat.
  2. Reap the attacker’s leg and throw him/her to the ground.

Note: Whip the attacker around and over your rear leg. You can reap their support leg if you’re proficient with that type of throw. Either is acceptable. Thirty

(UB7 Basic-Drill #3) Trapping, Choke, and Cross-over-Heel Kick:

  1. Attacking student: grabs lapel to punch.
  2. Defending student: traps attacker’s hand and punches to the attacker’s chin.

Note: The moment someone grabs you they’ve assaulted you, and you can retaliate. When someone grabs you it is to control you. In this exercise it is punch you and the grasp is to keep you from getting away.

  1. Defending student: wrap your arm around the attacker’s arm while he/she grasps your shoulder.

Note: The moment looks like the mawashi-uki block, but it is a trap and locking technique. Tie-off to their clothing. Your forearm should be under their biceps muscle.

  1. Defending student: delivers a tiger-mouth strike and choke to the opponent’s throat.
  2. Defending student: delivers a crossover-heel kick to the opponent’s lead leg.
  3. Defending student: delivers a horizontal elbow strike to the attacker’s head.

Upper Body #8 (UB8)

UB8 appears to be simple open hand rising block. This technique is effective against taller opponents, but it can be used against opponents of your own size as well. This one simply pushes or directs the attack upwards to open the blocking box or centerline targets.

(UB8 Basic-Drill#1) High Shuto Block and Punch.

In the drill the punch is an uppercut (ura-zuki) to the attacker’s chin, but the student must understand after redirecting the adversary’s blow upwards there are also other effective centerline targets.

Note: to use this technique on someone your size you may need to bend your knees and drive the blow upwards using your legs and forearm. Fight a taller opponent and this technique is more easily applied. Normally children and women are smaller than their attackers.

(UB8 Basic-Drill#2) High Parry Block and Throw.

In the advanced understanding of the series, we see that the object is to move the attacker’s blow upwards, so you can move through all ranges of attack to create a more devastating counterattack.

  1. Attacking student: delivers a lead or reverse punch.
  2. Defending student: parry blocks the punch upwards.

Note: The upwards parry block is made with the arm facing the opponent’s punching arm. If he/she punches with his/her right parry upwards with your left.

  1. Defending student: delivers an uppercut to the chin or solar plexus.

Note: This stuns the attacker and changes his/her thought process.

  1. Defending student: grasps the attacker’s arm and steps behind the attacker.
  2. Defending student: applies a figure shoulder lock.
  3. Defending student: throws the attacker using the figure-four shoulder lock.

Note: Whip the attacker around and over your rear leg. You can reap their support leg if you’re proficient with that type of throw.

Upper Body #9 (UB9)        

(UB9 Basic-Drill#1) High Block, Reverse Punch

If an attacker is taller than you, or if the attacker is simply punching to your face, the high block may be the block you need. What we call blocks are really a redirection of the momentum of an attack. All Isshin-ryu blocks can also be offensive as-well-as defensive techniques. In this drill we utilize the technique in the defensive mode, or we simply redirect the attack’s momentum upwards.

Upper Body #10 (UB10)

Upper-body techniques ten through fifteen hold some of the key concepts of Isshin-ryu karate. Some instructors claim these are the secrets of Isshin-ryu. Upper body ten introduces the concept of utilizing the same hand to block as-well-as strike.     

This is the first time a student learns that a block can turn into an attack. Most fighting series use the block then counterattack cadence, but upper-body technique number ten introduces multiple blocks and counters with the lead hand.

(UB10 Basic-Drill#1) Lead-hand block, Back-knuckle Strike, and Reverse Punch

  1. Attacking student delivers: Straight Right
  2. Defending student: Middle Blocks Left
  3. Attacking student delivers: Left Cross or Straight Left
  4. Defending student: Parry block the Left using the same arm.
  5. Defending student Parry Using the same arm snap a Back Knuckle to the     bridge of the attacker’s nose.
  6. Defending student delivers: A Straight Right to the Attacker’s Solar Plexus

 (UB10 Basic-Drill#2) Lead-hand block the attacker’s first punch, Lead hand block the attacker’s second punch, Back-knuckle Strike, and Reverse Punch

  1. Attacking student delivers: Straight Right
  2. Defending student: Middle Blocks Left
  3. Attacking student delivers: Left Cross or Straight Left
  4. Defending student: Parry block the Left using the same arm.
  5. Defending student: Parry Using the same arm snap a Back Knuckle to the  bridge of the attacker’s nose.
  6. Defending student delivers: A Straight Right to the Attacker’s Solar Plexus

Note: The lead hand can be used to stop multiple punches. This is a variation of the forearm deflection, back knuckle, and reverse punch scenario of upper body ten. The lead hand can block more and still be used in the counterattack. Do not limit your response. The lead hand is already in place, so slide forwards and attack with the lead hand.

Upper Body #11  (UB11)   Multiple Strikes

Contrary to popular karate mythology, most fights do not end with a singular punch. Karateka that have been in real confrontations know this. A student must be taught to deliver multiple blows. This exercise teaches also teaches variable timing, so the blows cannot be anticipated. It still follows the principle of redirecting the opponent’s attack and follows that attack with a rapid return of blows. This is an early version of Shock and Awe.          

 (UB11 Basic-Drill#1) Low Block with Multiple Punches

  1. Attacking student delivers: A knee strike
  2. Defending student: Low Blocks Left
  3. Defending student: Straight Rights (Reverse Punch)
  4. Defending student: Straight Left (Lead-hand Punch)
  5. Defending student: Straight Rights (Reverse Punch)
  6. Defending student delivers: A Straight Right 

Note: The first two punches are thrown quickly, but the last right is thrown after a slight hesitation. This is broken rhythm. If a fighter gets into your rhythm, you become easy to defend. 

Upper Body #12  (UB12)   Multiple Strikes

Contrary to popular karate mythology, most fights do not end with a singular punch. Karateka that have been in real confrontations know this. A student must be taught to deliver multiple blows. This exercise teaches also teaches variable timing, so the blows cannot be anticipated. It still follows the principle of redirecting the opponent’s attack and follows that attack with a rapid return of blows. This is an early version of Shock and Awe.          

(UB12 Basic-Drill#1) Low Block with Multiple Punches

  1. Attacking student delivers: A Straight Right
  2. Defending student: Middle Block Left
  3. Defending student: Straight Rights (Reverse Punch)
  4. Defending student: Straight Left (Lead-hand Punch)
  5. Defending student: Straight Rights (Reverse Punch)
  6. Defending student delivers: A Straight Right 

Note: The first two punches are thrown quickly, but the last right is thrown after a slight hesitation. This is broken rhythm. If a fighter gets into your rhythm, you become easy to defend. 

Upper Body #13  (UB13)  Shuto Strikes

Shuto strike to the neck are very effective blows. They may not end a fight but they can stun an adversary.  A momentary disruption of blood flow through the carotid artery will stager an attacker. Thirteen also teaches the palm-up spear finger. this is the best method of delivering a strike to an opponent’s throat. The natural reaction to being struck in the throat is to drop the chin. If the palm was facing down, the finger could be hyper extended. 

Upper Body #14 (UB14) Body Evasion  

Upper body fourteen introduces the advanced student to a new concept. In the first ten techniques the karateka moved forwards or backwards to increase distance. In the advanced theory the defender moves forwards and outside the attacker’s blow. This is the theory of fighting on angels built into one of the last five upper-bodies. Tatsuo saved the best for last. Remember the first ten upper body techniques can be found in other Okinawa karate styles, but the last six are special, and were added by Shimabuku sensei. UB14 also introduces the karateka to the horizontal parry block. This technique is found in Chinese martial arts, but is not as pronounced in Okinawan karate. It can be found in traditional karate kata, but it looks like a horizontal support of another strike. In reality it is a downward parry to redirect an attack to create an opening.

Note: This is the theory of body evasion. The best way to not get hit is to not be where the punch is aimed. 

(UB14 Basic-Drill#1) Parry Block Circular Strike Low & Circular Strike High:

  1. Attacking student delivers: A Straight Right
  2. Defending student: Forwards and outside the blow
  3. Defending student: Parry Block the punch past your body
  4. Defending student: Drive your thumb into the attacker’s kidneys (Rigth-hand)
  5. Defending student: Drive your thumb into the attacker’s temple (Left-hand)

(UB14 Basic-Drill#2) Wrist Escape and Elbow Attack:

We’ve learned that the lead hand can be used to block and strike in one motion form upper body exercise number ten. This concept can also be applied to upper body fourteen.

  1. Attacking student: Grabs Wrist (Same Side)
  2. Defending student: Steps outside on a 45° angle.
  3. Defending student: The karateka bends elbow and pulls their hand to opposite side of their body. This applies pressure to the aggressor’s thumb allowing the karateka to escape.
  4. Defending student: The defending karateka slides forwards in while in Shiko dachi and drives elbow into the attacker’s ribs or solar plexus.
  5. Defending student: The defending karateka throws a hook to the head or body.
  6. Defending student: The defending karateka throws a hook to the back of the attacker’s head.

Theory of Upper-body #14: “Inside the Blocking Box”

These following drills come from upper body number fourteen in Isshin-ryu. In upper-body fourteen the student is taught to step on a forty-five degrees angle into a horse-riding stance while parry blocking across the body. This is followed by two circular strikes. All beginning students are taught the best way to not get hit is to be in front of the attack. Kyan sensei, one of Shimabuku’s instructors, was a small man even by Okinawan standards, so he had to learn to fight on angles or to not be there when the blow was delivered. This is seen in the body evasion found in upper-body fourteen, but the remarkable technique is the introduction to the horizontal parry block. This block is a staple of close-in fighting and is rarely taught formally in other karate systems. The Blocking Box drills are designed to instruct this theory and teach the students how to actually use it in a fight.

Most vulnerable targets are on the centerline of the body. The Basic series 1-4 are designed to improve the student’s ability to protect these targeted areas. The blocks used inside the blocking box are: parry horizontal left, parry horizontal right, parry vertical left, parry vertical right, and the middle forearm outside blocks both on the right and left sides. These are the techniques used to form what is known as the blocking box because they form a box like pattern. Maintaining the integrity of the blocking box is why position of the middle forearm blocks are so important in your training as you move up and down the dojo floor. Outside middle block stops just outside the shoulder with elbow a fist and a thumbs distance from the ribs. The fist is stopped approximately shoulder or nose level depending upon the karate system. Moving past the shoulder breaks the blocking box and opens you to an attack. Keep your blocks tight and inside the box.

There are nuances to the parry block that cannot be seen in the diagrams. All parry blocks use a turn of the shoulders, so the centerline targets are turned away from the attack. The old karate adage, “The best way not to get hit is to not be there,” applies in the mechanics of this block. Turning the shoulders removes the adversary’s ability to attack these points straight ahead. Even if the centerline target is hit, during the application of this technique, it will at best be a glancing blow. Turning the shoulders and slightly turning the hits loads the opposite side’s hand allowing for a greater generation of power during the counterattack. Moving outside the box expends energy and takes time to reestablish your defense. Time is your enemy. Time gives your adversary and advantage.

When working these drills with a partner student, closing the gap should be worked on. As you’re blocking you are moving forwards. Fighting is like dancing you must stay close within striking range. Do not practice these drills without involving footwork or you’re simply slapping each other’s arms. Well… that is not entirely true. These drills at worse prepare a student on how to react when a fist is thrown to their head. Being able to see and respond to an attack is ninety percent of why a student studies karate. A side benefit to this drill is the conditioning of the forearms. Many schools practice pounding the forearms, so when the block is need, the student is conditioned for the impact trauma. During the drill you must also teach the student to see all of their attacker’s body, so they do not develop tunnel vision in a real confrontation. The attacking student is vital. They cannot become robotic in their delivery or the defending student will be able to respond without developing their fighting skills. This drill should help the student see shoulder movement and other tale-tale signs that an attack is about to be delivered. Eventually these tale-tale signs will be recognized without conscience and the appropriate response will be delivered. Remember you cannot dance without a partner, and drills are a safe way to learn by making mistakes in the dojo that would be disastrous on the street.

As the student’s become more and more proficient they should be able to speed the up the drill until punches are representative of real blows. Do not allow the student to increase their speed if they’re sacrificing the integrity of the technique.

This drill is designed for advanced students, but it can be introduced in a student’s early stages of training as well. The problem with introducing it too soon is the development of bad technique. Once a habit is developed it is difficult to correct

Blocks are not stops. Their purpose is to redirect the strikes energy. To stop a blow means that you will absorb a large amount of energy while the adversary absorbs a smaller amount of the generated energy. To demonstrate this one of my students devised this exercise.

One student placed their fist in the other student’s hand. The punching student pushes forwards while the blocking student tries to minimize the force. To stop the pressure exerted on the fist the defending student will need to exert an equal or greater force.

The parry-block use leverage and the momentum built-up, by the attacker, to deliver the punch. In the next experiment have one student hold their arm straight as if they had thrown a punch. Then have the second student push the side of the attacker’s fist. It takes a very strong individual to resist moving their arm to the side. With any kind of momentum this becomes impossible.

(UB14 Basic-Drill#4) Four Stage Blocking Drill:

This is a two-man training set. You cannot prepare a student to stop attacks to the face if they never see anyone punch them in the face. In this drill we prepare the student in a safe and controlled environment. These drills are designed to prepare the student to fight a trained fighter or martial artist.

Note: Stances can be right or left leg forwards

  1. Attacking student delivers: Left Jab
  2. Defending student: Right Parry Blocks the Jab
  3. Attacking student delivers: Cross or Straight-right
  4. Defending student: Parry blocks the cross or straight right  A
  5. Attacking student delivers: Left hook
  6. Defending student: Middle forearm blocks the left hook
  7. Attacking student delivers: Right hook
  8. Defending student: Middle forearm blocks the right hook

Note: This drill teaches both blocking and attacking skills in a controlled environment.                  

Note: Speed should increase as students become more proficient. Do not let the students develop a monotone cadence or the exercise will simply become a game. The attacking student must change the cadence to train their partner not to anticipate their next move. This does not mean that the series can be altered. It must remain the same jab, cross, right hook, and left hook. This is a safety measure for novice karateka.

(Variation Drill-4) Three Stage Blocking Drill with Counterattack (Uppercut):

Note: Stances can be right or left leg forwards

  1. Attacking student delivers: Left Jab
  2. Defending student: Right Horizontal Parry Blocks the Jab
  3. Attacking student delivers: Right Cross or Straight Right
  4. Defending student: Left Horizontal Parry Blocks the Cross or Straight Right
  5. Attacking student delivers: Left Hook
  6. Defending student: Right Middle Forearm Blocks the Left Hook
  7. Defending student: Counterattacks with an Uppercut to the chin.

(Variation Drill-4) Four Stage Blocking Drill with Counterattack (Elbow):

Note: Stances can be right or left leg forwards.

  1. Attacking student delivers: Left Jab
  2. Defending student: Right Horizontal Parry Blocks the Jab
  3. Attacking student delivers: Right Cross or Straight Right
  4. Defending student: Left Horizontal Parry Blocks the Cross or Straight Right
  5. Attacking student delivers: Left Hook
  6. Defending student: Right Middle Forearm Blocks the Left Hook
  7. Attacking student delivers: Right Hook
  8. Defending student: Left Middle Forearm Blocks the Right Hook
  9. Defending student: Counterattacks with a Horizontal Elbow to the chin.

Note: Close the distance by shuffle forwards to get inside the opponent’s reach.

(Variation Drill-4) Four Stage Blocking Drill with Counterattack (Knee):

Note: Stances can be right or left leg forwards.

  1. Attacking student delivers: Left Jab
  2. Defending student: Right Horizontal Parry Blocks the Jab
  3. Attacking student delivers: Right Cross or Straight-right
  4. Defending student: Left Horizontal Parry Blocks the Cross or Straight Right
  5. Attacking student delivers: Left Hook
  6. Defending student: Right Middle Forearm Blocks the Left Hook
  7. Attacking student delivers: Right Hook
  8. Defending student: Left Middle Forearm Blocks the Right Hook
  9. Defending student: Counterattacks by grabbing the attacking student’s head and delivering a rising knee strike.

Note: Close the distance by shuffle forwards to get inside the opponent’s reach.

Note: Control the opponent’s head and you control his/her movement.

Note: In this drill it makes no difference which hand the attacker punches with or the defender blocks with. Their block only determines available targets. To be a master of karate you must be able to turn the opponent and recognize the open vulnerable target areas. Students should vary which hand the punch with first and block with first to practice opening an closing an attacker.

Upper Body #15 (UB15)   Cat Stance Elbow Strike         

Upper body fifteen teaches the karateka that the body has more weapons than simply your hands. This exercise utilizes striking with the hips and elbows. It also teach the student how to drive their hips into an attacker to facilitate a throw. It also teaches creating distance. It demonstrates how to attack wit the point of the elbow.

(UB15 Basic-Drill#1) Elbow Strike:

This is a two-man training set. You cannot prepare a student to stop attacks to the face if they never see anyone punch them in the face. In this drill we prepare the student in a safe and controlled environment. These drills are designed to prepare the student to fight a trained fighter or martial artist.

Note: Stances can be right or left leg forwards

  1. Attacking student: Reaches for the Defender.
  2. Defending student: Grasps the attacker’s obi (belt)
  3. Defending student: Drops backwards into a Cat stance pulling the attacker forwards
  4. Defending student: Drives the point of the elbow into the adversary’s throat or face.
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