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'1AtrlNTE WADO.RYU
by Tatsuo Suzuki(8th Dan) 2 : 7th Kyu

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CONTENTS E XERCISES KIH ON.TSU KI& K E RI (B A S IC CHNI O UE S ) TE

1 . J unz uk ino T su k k o mi 2 . G y ak uz uk no T s u k k o mi i (C 3 . M awas higer i h u d a n )

Page 2 5
5 6 t2

RENRAKU WA ZA (COMB INA TION TECHNI O UE S )

1. Maegeri Chudan,Mawashigeri Chudan.GyakuzukiChudan 2. Surikomi,Maegeri Chudan,Mawashigeri Chudan, GyakuzukiChudan

t4 14 15 l6 17 21 23 26 31

UKE ( BL O C KS ) S AN BO N GUMITE
1. Chudan ot o U k e S 2 . ChudanUc hi U k e 3. ChudanMaegeri Uke, lpponrne 4 . Chudan aeg e ri k e , N i h o n me M U

K ATA ( FORM)
PinanNidan

GL O SSARY TE RMS OF
Special thanks are due to Mr BobWignall (3rd Dan) of the United Kingdom Karate Federation,for his invaluableassistance in the productionof thisseries.

42

E XERCISES

*e 1 & 2. These exercises are for front kick trainang, in which the toes must be bent back. l{ the toes are kept forward, the kick will be weaker and injury will often result. Thb exercise will give strength as well as supplenessto the toes.

,. gig tues raisect,others on the floor.

Z 8ig rces on tne f loor, others raised

ge 3 & 4. These exercises help to develop strong ankles.

3. Rock invuardson tl' instep. bending the knees slightly and bringing them closer together.

4. Straighten the legs,

on to outer edgBof foot.

I lrese exercises develop balance as well 6 See 5, 5a, 6, 6a $rengthening the knee ioints. lf these exercises are not practisd before kicking, knee iniuries are very likely.

5 & b. Hips down forward, knees Eni raised off tfu ground.

and heels

6 & 6a Hips pulled tuck, kno6 straight, rock bck onto tla lr,ol& Good blance must be matntarnad throttglPut thb exerci*.

S& 7. 8, 9. These exercisesare training for the kick. Note: The knee is not bent at any time during this excercise.

Diagram I

8. DW. ,. ln this exercifi t, foot must be kept twisEd as in SOKUTO (*e 8th Kyu boklat).

9. Band forvnrd, not quito to tfu ftoor, and Fnllel kick f,g'ckvvar& form an to arc along the bck. Nota Bnding the head down the value of this docreases axercise.

&e Fig. , O & , ,. Those exercises for the calf, thigh and are knee muscles. tO. Kick as in front kick, but stop wlren the foot is extended (instep straight and toes bent bck). ,1. From Fig. l0 psition, sqoat on leg, sitting one l" from the fuut gound. Arote. The hg must be kept straight throughout. Then stand straight up, Although this xercise is very for difficult it beginners, is very important and must be practised. (a $pport may be used at first. e.g. partner's deew etc.l
12. This exercise is for the stomach musles. Raise the neck and then lift the feet a few inclcs from the ground

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KIH O N. TSUKI & KERI (Bas icTec hniques )

JU N ZU KINO TS UK K OMI
These Basic Techniques are more advanced and should not be practised before JUNZUKI GY A K U Z U K I t r a i n in g , and

| 3. (l ) The hips are twisted to 4P t 4. Step fonnrd fufore 15. As soon as tllr moving foot (2) The heels in line. (See Dwg. 2). punching Body facing front touches the floor, pull bck the (3). Keep the front foot Move the foot in a straight hand, and punch at the sme straigtht with the back foot at line. time. ri gh t angles. (See Dwg. 2). Then turn to Jo&n uke (See 8th (4). Keep the front knee Kyu bookl (l). Wrong view. upright (a) Front foot and back foot in Note (l). Keep the fist ar t h e s a m e h e i g h t a s th e wrong position. eyes. (b) Knee leaning inward, Body leaning backward. kl Note (2).Stafi from JUNZUKI (d) Punch too high. st a n c e . ( S e e8 t h K yu b o o k) .

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Note (2). Keep the back leg straight, bordy leaning forward and th shoulders relax e d .

| 3a.

Note (3). The stance i" about 2" longer than the JU N ZU K I stance(S ee8th K yu book)

|5a.

GYAKUZUKN TSUKKOM! NO

16, (11Start from GYAKUZUKI (See8th Kyu book). I2I GYAKUZUKI NO TSUKKOMI (nnve forward into Gyakuzuki no Tsukkomi stance)Fig.l6. 16, l6a and Dvtg 3. The front heel b 2" in front of tle 0ck toe an'd both feA are tufned in slightly, the body leans forynrd and the punch b a little lonwr than JUNZUK,. The thigtr are t ensed in ward s lik e GYAKUZUKI,

,Z Turn tha left foot outtAard and twist tb hip to the sme angle. 7. This hip twisting is very irnportant because it makes the punch much stronger.

18 & ,8a. Mwe the tuk f@t in to the front foot. Keep the hips on the same la/el and do not raise the body.

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Diagram 3

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Turn i n GE D A N B A R A I {s 8th Kyu bookl

19 & l9a. Take the back foot in an arc out to the position shown, with the heel raised. Most of the yteight is still on the left foot. See Dwg.3.

2O & 2Oa. Lot Er the heel. twist the hip to the fron't and, at the snp time, pull bck the hand and punch. T wist fi st th e as GYAKUZUKI.

2. Wrong View. (, 1) . Frona t oo t not t urn e d tnwarct. (21 . Too m u. c h hip spoil_ lulsr, t ng the fulancc. (3). Body too upright. T he | 4 t. punc h too hish. 2Oa

3. Wrong View. (11. H i ps too far bck. so no power in the punch. l2t. F,ont knee too straigh t.

N ote (l ). D uri ng thi s technique the body must be kept fornrard all the tarr|e. Note (2). Punch to the centre throughout ars shown. Note l3t. Do not look dow n but to the front.

Klc{<} ER MAWASHIG | (Roundhouse

Thre are tv\p kinds of MAWASHIGERI.In the first one. the striking point is tho ball ot the foot. In the scondtho kick is with th instep. The MAWASHIGERI wlth the ball of the foot is mrch stronger for atteking the body, whib the kick with tho instop is bettr for attacking th groin or the face. ln froefichtins and @ntsst the MAWASHIGEBI to the bodv with the irstep does not injure the toes, as is likely with tho kicking with ball of the foot. Tlis is why you must practase t}r instop only, and why this book only dscrabesthas tochniquo.

Fig.El.Themrt of the foot u*d in strikhg;

F ig. D). lt is very to snap the iryortatrt k ick back guickly, &ause it makes the kbk more povnrful and also it makes it mora for your difficult owonent to gtab the kicking leg lf the leg b srcpped fuck quicklY, o ne ls i mmediately rea dy f or a not lpr technigue.

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M AW A SHIGER IC HUDA N (

GAMAE ilf'ffi'llely,'

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2' & 21a Game.

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Hanmi

22 & 22a. Twist the hiqs to the teft abut 44 raifi the knee, turn the left loot outtilard slightly, keep the teft knee bent and the foot flat on tlre floor.

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23 & 23a. Snap the foot from the knee, upvards Make sure tlc leg is straight on impact. Note (1). Pull the leg back q u i c k l y , in th e sa m e d ir e ctio n c t h e k i c k.

24 & 24a. Pl*e the kicking leg

R E NR A K UWAZA (Co mbi nat ion Tec hniques )

MAEGERICHUDAN, MAWASHIGERI CHUDAN,GYAKUZUKI CHUDAN (Middle Front Kick-Middle Roundhouse Kick-Middle Reverse Punc*r)
25 \"li -.)
+ 27 +2 8 4

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27. After -front kick 2& Twist the hips groin clued

S U R IKOM IM AE GE RICHUDA N, MA W A S HI G E RI CHUDA N GYAKUZUKICHUDAN (OneStep Punch) Kick-Middle Reverse MiddleFront Kick-Middle Roundhouse
37, 38, 39, 40 &
On e ste p 3 4. forward and lovYer 35 Front Kick to the Solil Plexus hips slightly. tl9 + 41. The same techni ques as above but the opposi te w ay
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36. Step forvnrd after tl re frcnt kick. 4

14

I
29. Kick to the solar Plexus. 30. Step forwud and fo o t p la ce th e outward. No te 1 . tf th e fr o n t out is n o t fo o t e n o u g h , th e Pu n ch is n o t so str o n g a n d th e b a la n ce is we a k' Ke e P th e No te 2 fr o n t h a n d in fr o n t o f th e b o d y a n d Pu ll th e b a ck o n e to th e h iPS.

1.

T h i s 32. After. the Punch' 31. GYAKUZUKI is the putl the hand tnck same as in the 8th qiick ly. Kvu book.

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SANBON GUM I TE
Meaning:- The attacker attacks the chosen target three times. The defender blocksthreetimes,then counterattacks. From practising SanbonGumitewe learnthe following:(1) MA-Al or judgement distance free-fighting contest. of for and (21 Correct way of attackingwith maximum effect. (3) Gqod balance. (4) Correct body movement. (5) Good Timing. PoinB for the attacker to note. (1) The attack must be to the correct target. (21 Do not punch beforethe body stops moving. (3) The attack must be true and not held back. lf the block is weak or misses the attack, the defendermust be hit. The reasonis that, if the attack is not true, the defender does not need to defend correctly and the exercise loses all meaning. of lf the practise blockrngand attackingin SanbonGumite is not done correctly, then in free-fightingand Contestthe attacksand blocks will not be any good. (4) When the correct movementshave been mastred,they must be applied as fast as possible. Points for the defender to note. (1) The defendershould not move before the attack begins.This appliesto the first attack, the secondattack and also the third attack. (2) The defender must move back at the same speed as the attacker moves forward. This is emphasised because is usuallyeasierto move forward quickly it quickly. than at is to move backwards MA-AI. lf the defender and attacker can touch each other from a stance, without moving their feet, they are too close.The correct MA-Al or distanceis, when one canl connect with a technique strongly, after moving half a step forward. After the defender has attacked it is important that both the attackerand defender watch eachother carefullywithout lookingdown.

16

CHU DA NS O T OUK E (Middle Outer Block)

42 Don't bw too deep and always look each other in the eya This prevents any surprise attack. Stand with the heels together.

43 Take YOI stance (See 8tn Kyu book)

44. The attacker moves his right foot fuk into JUNZUKI sance- The defender doesn't mova Note. Take up the correct distance.

45 The attxker puncha to the $lar Plexus The defender moves his left with JUNZUKI. foot t,rk with his hands as shown, Note. Mova all the body bacK at once and not the rog first.

tl6- Elock with the right hilrd and twist it I shorun at the same time. The block is made with the thumb side of the wrist. IVota. (see 8th Kyu book for S OTO U K E and JU N ZU K T).

47. One more attak with JUNZIJKI more block with soTo uKE.

and one

.48. Attack and defend once more.

49. Af ter the b lo ck the defender turns his right hand and grips the attacker's sleeve as shown.

fi. Pull the sleeve, lan bck and kick MAEGERI. with /Vote. Don't move th e le ft fo ot.

5l a.

51. After the kick, put dorMl the foot further a I ittle forward than usual with and punch GYAKUZ U K I. Note. Keep hold o f th e sleeve and a p p ly a l i ttl e pressure to break h is b a la n ce.

Afte r the 52. punch, pull bF,ck the hand guickly and keep hold of the sleeve.

53. S tep bxk quickly into the opposite stance, but keep looking at your partner with awareness

54. Move the front foot back slowly, then bring the feet together. sti l t keep looking into each others eyes.

20

CI{U DA NUCHI . UK E (tlliddleInner Block)

55

ffi. The defender moves bck with his left foot, as shovwt. and brings up his right hand.

57. The defender bluks with (JCHI IJKE. Using the little finger side of the wrist.

58. The defender

steps back and blocks again.

59. Same x Fig. 57.

ffi, Aftet bleking. the hip rir twisted little a more to the left The right hand is raised and the r ig h t foot is moved inwar* a half step all at the same time.

22

CHUD A N MA E G E RI UK E I P P O NME , (Middle Front Kick Block)

62. The attacker moves back into HIDAR I HANMI GAMAE.

63. The attack is front kick to the Solar Plexus. The defender moves back qu ick ly with his left foot.

64. One more attack. The defender steps back again.

65. B ight frcnt kick attack again. The defender does not step back this time but moves his left foot to tha left.

23

66. The hips are twisted to the right and at the gme time the attackers leg is swept to the right. Note l. fhe hips must be twisted co m p le te ly to the r ig h t. r n o vin g the b o d y a wa y fr o m the kick. ly'ote 2. Raise th e le ft h e e l, wi th th e we ig h t o n the r ig h t fo o t. No te 3. Ke e p th e h ip s low .

Du r in g 67. ttu block, the right fist should fu as shovvn in Fig. 67a.

68. Twist the hips to the left and punch right with to GYAK UZ UKI the k idneys.

Note. From Fig.66 ro 69. must be done a s a co m b in a ti on a n d a s q u ickly as possible. 69a 69. Pull back the right hand quickly the punch. sfter This is done because pulling the hand back guickly makes punch more the effective. and also brings the hand into position for another punch if needed.

24

70. The attacker moves his right foot to the teft. The defender moves his left foot fuck.

71. The attacker turns round quickly into teft s tance.N ote. Good bal ancernust be mai ntai ned. l(eep l ooki ng i nto each others eV es.

72. Both move the feet back into the position shown.

CH U D A N M AEG ERIUK E , NIHONME (MiddleFront Kick, Block No. 2)

73. See62.

74 Attacker - right front kick to solar plexus. Defender moves back with his right foot.

75. Attacxer - left front kick to solar plexus. Defander moves back with his left foot.

76, 76a, 76b & 76c. Attack with tight foot kick. Defender steps back with his right foot and instantly moves his left foot slightty to the left, at the same time twisting his hips to the right and raising the left heel with the tAftight of the body on the right foot. Note. I The step back w ith th r ig h t fo o t is a half-steg.

27

77 to 8O. l'he same as 66 to 69.

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After 80. The technique is the same as 70 to 72.

29

f rom Bu bishi (Shikod ac his t anc e)

(Se 8th KYu book)

30

KATA
(1) Meaning. The Kata is an artistia work in which all movemenp in defende and counter-attack are put together in a refined manner, with no wasted effort. Karate is a defensiveart and that iswhy Katas concentrate on defence. (2) The main features of the Kata. Kata can be practisedalone, almost anywhere, at any convenienttime and as many times as wished, Kata practise is very good for old people,women, and children, who can practise kata without doing it as strongly as a young man would. The younger man, who would practisevery strongly, builds up good musclesand tones up his body. At the sametime, the techniquesof Karateselfdefencecan be masterd. (3) lmportant points, 'KATA HITOTSU SANNEN'. This meansthat each kata needsthree years of practice. It is far more important to master one kata,.than to know many but to be masterof none. Eachtechnique in a Kata must be understoodand practisedwith the thought of the attack uppermost.This givesfar greaterimprovementand is calleda 'live' Kata. This also helpsone understand why combinationtechniques must be done quickly and accurately.
(PINAN NIDAN}

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8'. S H I Z E N T A I / 1 /

82 lIIt

(IIa)

84 D w g. III.), Move the ri ght foot forward. Punch with JU N ZU K I (S ee 8th K yu bookl

82 & 82a Move the to the left and turn

D*g. IL left foot about 4" the foot.

Look left Raise the right hand across the bdy and lift the left hand stnight up the left si& of the bdy 7oot6 of the body ttEight on the right leg

& j & *j a& 83A Do not move the feet. Bring the teft hand dowt into bttom fist block. See 83A. and pull the right hand to the righr hip. Drop the body i nto N E K OA S H I stance. All t hese l rnvements are done at the same time.

82a.

83a.

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32

86 (IV)

87 (v)

(Va)

85. & 854. Against an attuck from the r@r, the right foot is moved fuck and to the left diagonally, moving the whole body and not iust the leg. Keep th6 hips low. At the same time, raise the right hand to the left chest, twisting the hand. Kaep the shoulders relaxed-

86. and 864. and Dwg.IV. Twist the hips to the right and block with Gedan Barai. Do not move the left hand. Note. An o th e r r e a so n fo r th is m o ve m e n t, is that it gives practice fo r g o o d b a la n ce . lf th is m o ve m e n t ca n b e d o n e co r r e ctly w it h o u t lo sin g b a la n ce ,th e n h e ca n ke e p h is b a la n ce in m o st o th e r movements. This is th e m a in a im o f th is te ch n io u e -

8 7 . 87a.88.88a.99A and D w g.V . A gai nst an attack from the middle front, the forc foot is pulled back to the left foot about ,t% feet, the hips are straightened, and at the same time the hand is lifted above the head from the Ieft-hand side of the face.

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92 (Vil)

9Oand DwgVI. The left foot is put one step forvnrd. Left JUNZUKI

91,92 and Dwg.VII Tha left foot is moyed far left, and this time the left leg shoutd be strauht and the left heel should be lifted. At the sme time the left hand is twisted, the bck of the haod being urned down, and the hand is pulled teck to the brcast The hip is twisted to the lefL Left Ge&n garai. Note (l), The right hand is not moved. lt is at tho hip. Nota (2. The body is facing front, The fest in JUNZ UK I stance.

VI
&)a. Fis. 89. 89e, 89A. The right hand is brought straight down in order to protet against an attack from the middle. Note. A beginner should be careful not to put the right hand too far right or too much above, in whic h case he protect ca n not corrctly.

VII

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93( V I I I )

94 ( I X)

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93 Dwg.VIil, 94 Dwg.lX and 95 Dwg. X' From right Jodan Uke' (See 8th Kyu book) movement is repeated three times'

V III IX
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an A gai nst 96. from the attack left-hand side of the back, the left foot is moved to the far left, the left hand is irs with twisted back turned down, and is pulled to the The right breast. is brought hand the elbow. under Eyes are turned to the tuck left.

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97 and Dwg. XI. The hips are twstecl to the left This is left Gedan Bardl The startu*e Junzuki. tlon. The body is turnd to tho loft at 450.

98 and Dwg. XII. The right foot is put a step

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99. The right foot is nroved to the right obligue side, the right hand is twisted with its bck turned dowt and pulled fuck to dro brcast abve the left foot,

l0oandDwg XIII. The hips are twisted to the right. Right Gedan Barai. Stance is Junzuki. Nota. The body ie positiond to th8 right at exactly 45o.

XI

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rot andDwg XIV.The left toot is put a step fo rward . L ef t Junzuki.

1O2 The left foot is moved to the left side, meanwhile the left hand is twisted and pulled Eck to the breast

l03a

XIV

| 03. J.03a. and Dwg XV. The hips are twtsted to the left. Left Gedan Barai. N ote X V . The body shoul d face exactl y the opposi te w ay to whi ch i t began. Thi s is Junzuki stance.

104. lo4a. and Qwg. XVI. The right fgot ,s a stp Right forward. Junzu ki.

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107. The left foot is pulled back to the Tuln to right foot. the left at l3f . The fingers of both hands are opened out.

l05. l05a.Dwg XVII lO6. l06a.Dws. XVIII, The left foot is put a Left step forward. Then the Junzuki. right foot is stepped R i ght fo r wa r d. Junzuki. 108. 108a andDwg.XIX. The body is well twisted and turned to exactty 45o The palm of the left hand is turned upwards. The right hand, with its back turned upwards, is put under the left hand. Thus, both hands are pulled slightly back to the stomach. The left foot (on irs toes) /s pulled back to the right foot. N ote. Forearmsand hands shoul d be paral l el to the fl oor.

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N. B . r-.rg shouldbe 112 ,109(xx)

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and 109a. 109. The left DwgL XX. is stretched foot to 45o. straight (The length r's smaller than that of J unz u k ! stance). Both hands are not moved; both heels are raised.

b N xx

110. ll0a. ll0A. andDwg.XXL The hips are twisted to the right and both feet are twisted to tha right The left hand is pushad forward, being twisted, as when punching. The right hand is pulled and positioned bek under the breast A/o te ///Sh iko - d a ch i* Nota l2)The head is turned to th e le ft sid e . Note (3)Both knees are bont. Note ( lThe body is turned e xa ctly to 45o.

llla. ll2a. The hips aro twisted to the teft, th6 bodv is turned to 45o. the right hand is Dut a little bit forward. the left hand is pulled back slightly, and the right hand is put over the teft hand.

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xxl

This is a stance. Eoth feet 'Shiko-dahi. are turned out in a 45o angle. Ealance is in the middle, egually on both feet, and the hips ara down. This s6nce coma from Shiko-dachi in Japanese wrestling 6umo). (See page 30).

39

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115. and Dwg. XilV. With left ball of foot as an axis, the body is twisted 45o to the right, meanwhile the ilght foot is pulled back to the left foot. At the same time, each hand being turned in opposite ways, the right hand s put cn the left hand, znd both hands are pulled back a little bit to the stomach. ( | ). N o te Both h a n d s fa ce e xa ctl y f5o to the right. Nota (2). The heet | 14. | 14a, and Dwg. XXIII. The hips are of the right foot is twisted to the left, the right hand is lifte d . pushed forward, baing twisted, and the left hand is positioned under the breast, being also twisted, Stance is Shiko-drchi. The body is positioned facing 45o.

and D w g. l 16. XXV. The right foot steps forward at 45o Both heels are raised.

l l 7. 1174. and Dwg. XXVI. The hips are twisted to the left, both hands the are turned opposite way, and (see the right hand | | 7A) against an attack from the opponent blocks punches with and Nukite to the ribs as shown. Stance is Shiko-dachi.

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The bodv ,r8. being twistcd to tha ilght and at exactly 45p, the l6ft foot is moved forward to the front of the right foot. At tha same time, the right hand is pulled back slightly and the laft hand is moved forward and put on the right hand,

and Dwg. lr9. XXVII. The right foot steps forward exactly at 45o. Eoth heels are raised.

,20. and Dvvg The body XXWII. is twistad to dtb right, the taft hand purches in Nukite as before, and the r ig h t hand is positioned under the breast, being twisted. Stance is Shiko-d*hi.

l 2l . and D w g. From XXU. this posltion return to S H IZE N TA I as shown. Note. Come back exactly to tho pl ace sama as started.

XXVII

XXvIII

&

Note l: CO M B I N A T I O N S . So m e m o v e m e n t s i n a Ka ta a r e e xe cu te d in r a p id su cce ssi on butcorrrtl yandw i thpow er.Theseare c al l e d c o m b i n a t i o n s . p h o to g r a p h sa r e co m b in a tions:I n P i n a n N i d a n , t h e f ollo win g F r o m 8 l to 84 From 84 to 90 From 95 to 98 F r o m 9 8 to 1 01 Note 2: The f o l l o w i n g p h o r o g r a p h sa r e d o n E a s o n e r n o ve m e n tiF r o m 8 l to 83 From 94 to g6 From 86 to g9 F r o m g 0 to 92 F r o m 9 5 to 97 F r o m 9 8 to 100 F r o m 1 0 1 to 1O3 F r o m 1 0 6 to 1 10 F r o m 1 1 0 to | 14 F r o m 1 1 4 to 1 17 F r o m 1 1 7 to 1 2 0

41

GLOSSARY TERMS OF

ETIOUETTE

CoMMAND

PRONUNCTATTON

POS|T|ON

Ni Sensei Bci OtagaiNi Rei Kiritsu

Sen-Say-Nee-Ray Ott-Toe-Guy-Nee-Ray Kiritz

Bowto lnstructor Bow to Dojo and all assembled stand to Attention

BASIC TECHNIOUES
COMMAND Yoi Hidari Gamae HidariHanmiGamae Hidari Shizontai
Hidari Misi

PRONUNCIATION Yoy Hid-Ar-Ee-Gam-i Hamee Shi-Zen-Tye

POSITION

ReadyStance JunzukiStance Fighting Stanc Left NaturalStance Left Right

SUHA RI
The Japanese writing on the opposite page standsfor'SUHARI', an old and important Martial Arts word in Japan. from his SU indicatesthat a beginnermust correctly copy all karatetechniques instructor. HA means that after a number of years of training, when the karateka has attained a high degree black belt, he is allowed to develop new techniques provided they are improvements. This applies to all movements with the exceptionof basictechniques. RI is the highestform. lt meansthat after an wen longer period of training than for HA, the Karatekamust be able to perform all forms of karate automatically, not stoppingto think about his moves.

TATSUO SUZUKI
ProfessorTatsuo was Suzuki borninYokohama 1928 in and became interested Karate the ageof 14.Hewastaughtby in at Professor HironoriOhtsuka, Highest Karate in authority Japan, founder theWado-Ryu of styleof Karate, receiver the Shiju and of Hoosho medal service sportfromthe Government Japan, for to of theonlymanin the history Karate be so honoured. of to Professor Suzuki looked is uponas hissuccessor. Within years beginning study six of to Karate, Professor Suzukiwas awarded thirdDan,andin 1951 his wasawarded thenhighest the gradeinWado-Ryu styleKarate 5th Dan- for hisoutstanding courage ability. and Inaddition hisaccomplishments to inKarate, Professor is Suzuki a (stick 2ndDaninTenshin Koryu Bo-Jitsu fighting) is a 1stDan and inJudo. hasalsostudied doctrine thehigh priests, He Zen with the lateGenpo Yamamoto Soyen and Nakagawa. In 1975he received Dan, highest grade 8th the evergiven the by FederationAll-Japan of Karate-Do organisations, Wado-Kai. that In yearhealsoreceived highest the Japanese martial titleof arts 'Hanshi'awarded byan Uncle theEmperor to him of Higashikuni. person thistitleinWadoProfessor is Suzuki theonlyliving with Ryu. Theonlyotherperson thelateProfessor was Ohtsuka. is He at present engaged thesetting of Karate in up organisations throughout Europe theRenmei's as Chief Representative abroad. Professor Suzuki nowChief is Instructor theEurope for Wado-Ryu andChairman theUnited to Kingdom Karate-Do Wado whose Kai maindojois Professor Suzuki's School Karate. of

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