CATAWBA VALLEY

MARTIAL ARTS

cheonjikido.com

STUDENT MANUAL
2

TABLE OF CONTENTS

Mission Statement / Instructors / Dojo History . . . . . . . . . . . 03

The Cheonjikido Name . . . . . . . . . . . . . . . . . 04

Our Style Patch . . . . . . . . . . . . . . . . . . . 06

Class Code of Conduct . . . . . . . . . . . . . . . . . 08

Tying the Belt . . . . . . . . . . . . . . . . . . . . 11

Belt Ranking System . . . . . . . . . . . . . . . . . . 12

Rank Requirements . . . . . . . . . . . . . . . . . . 14

Promotions . . . . . . . . . . . . . . . . . . . . 26

Cheonjikidos Core Principle of Twelves . . . . . . . . . . . . 27

Primary Basics . . . . . . . . . . . . . . . . . . 40

Stances . . . . . . . . . . . . . . . . . . . . . 43

Blocking Technique . . . . . . . . . . . . . . . . . . 49

Striking Technique . . . . . . . . . . . . . . . . . . 51

Kicking Technique . . . . . . . . . . . . . . . . . . 54

Ki Exercises . . . . . . . . . . . . . . . . . . . . 57

Influential Martial Arts Styles . . . . . . . . . . . . . . . . 62

Itosus Ten Precepts of Karate . . . . . . . . . . . . . . . 71

Recommended Bibliography . . . . . . . . . . . . . . . . 73

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CHEONJIKIDO MISSION STATEMENT

The mission of Cheonjikido and its primary dojo of instruction, Catawba Valley Martial Arts, is to propagate
and preserve an eclectic, effective, and full-range martial art with traditional roots and to promote training
apart from the unhealthy influences of typical sport karate and MMA (Mixed Martial Arts). We exist to
promote and foster practical and effective martial arts skills within the framework of a Biblical worldview,
giving particular attention to realistic and contemporary self-defense technique, the well-springs of kata,
bunkai, grappling, kumite, flexibility, agility, endurance, moral virtue, and spiritual fortitude.

As one martial arts master once affirmed: Karate is not a religion, neither should it become religious . . .
rather, religion provides a necessary moral framework for the study of martial arts. A martial art, thus
framed, can then be a tool to strengthen ones religious faith and an outlet to live a constructive life. This
being the case, Cheonjikido operates within the moral framework of a Biblical world view, thereby
recognizing only one Master or Soke in this earthly life, the Lord Jesus Christ. Moreover, we endeavor to
use the practice of martial arts as a platform from which to point others toward faith in Him.

CHEONJIKIDO INSTRUCTORS

Our instructors comprise a Yudansha (i.e. black belt) Board that oversees all affairs pertaining to the art of
Cheonjikido. The Yudansha Board embraces, advocates, and promotes high standards of leadership.
Therefore, each individual instructor is regularly assessed in terms of martial arts ability, teaching
proficiency, and moral character. With regard to the latter, all Cheonjikido instructors are expected to abide
by a specific Yudansha Code of Ethics.

STYLe & dojo history

An in-depth history of the style of Cheonjikido and that of the Catawba Valley Martial Arts dojo can be found
online at the following url: http://cheonjikido.com/our-historical-background/. All students are required to
familiarize themselves with this history. For after all, a successful martial artist must know where he came
from to know where he is going. And, while those that dont know their history are doomed to repeat it;
those that dont know their history may be doomed NOT to repeat it. A detailed black belt lineage can be
found here: http://cheonjikido.com/wp-content/uploads/2015/04/Genealogy.pdf.

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The cheOnjikido Name

Our style name is an amalgamation of four Korean hanja characters that literally translate: the way of a
heaven lake. This designation highlights an analogy frequently taught by the late Sensei Larry Beal
(1944-2010) concerning the health and vitality of a martial artist. The health of a heaven lake (i.e. mountain
lake) is dependent upon its ability to feed while being fed. In other words, a vibrant mountain lake not only
receives nourishment from precipitation, snow melt, springs, run-off, etc., it likewise provides nourishment via
streams and tributaries that water the land below. A mountain lake that only receives sustenance inevitably
becomes brackish, stagnant, and less able to support life. A perfect example of this is Mono Lake in Mono
County, California. On the other hand, a mountain lake that only provides sustenance inevitably dries up. The
desert expanse of Americas Great Basin is dotted with dried-up lake beds that once discharged without
receiving nourishment. In the same way, a martial artist retains vitality and health by constantly feeding and
being fed. Such necessitates a spirit of integration, unbound by the walls of impractical tradition and unhinged
from self-aggrandizing titles that breed dead egoism. A martial arts student who constantly learns without
opportunity to teach what he has learned inevitably overtrains and becomes burned out or undertrains and falls
into stagnancy. A martial arts instructor who teaches without being taught becomes self-absorbed and
eventually dries up. Therefore, Cheonjikido, as implied by our name, is a full-range martial art that is
necessarily eclectic, pragmatic, and evolvingteaching and being taught. Our lineage draws primarily from
indigenous Korean Chang Moo Kwan and Japanese Aikido, hence the Ch sound at the beginning of our
name and the kido sound at the end; and it has been influenced over the years in smaller ways by a variety of
other traditional arts. It follows, therefore, that there are no superior martial arts, only superior martial artists.
Moreover, all Cheonjikido students are instructors, and all Cheonjikido instructors are perpetual students. Such
conforms to the spirit of integration and eclecticism introduced by the original instructors in our black belt
lineage, Korean Grandmasters Byung-In Yoon and Nam Suk Lee (hence the Korean hanja in our style name).

Byung-In Yoon (1920-1983) was the first Korean national to study Chinese Chuan-fa. He then took that
knowledge to Nihon University in Tokyo, Japan where he studied and assimilated Shudokan Karate under the
teaching of Kanken Toyama. Upon returning to Korea, Yoon synthesized Northern Chinese Chuan-fa with
Korean & Japanese martial arts, and produced an eclectic style that became known as Chang Moo Kwan (i.e.
Korean for building a martial arts house). Until his death, thought to be in a North Korean forced-labor factory
around 1983 after he went missing in the North during the Korean War, Grandmaster Byung-In Yoon embodied

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the spirit of cheonjikdo (i.e. the way of a heaven lake) in his approach to the martial arts. The same can be
said of his protege, Nam Suk Lee (1925-2000), who took over Yoons schools in Seoul after the Korean
Conflict and preserved eclectic principles through a body of kata known as The Twelve that he revived during
the last days of his life in San Pedro, California.

Traces of this same spirit endured in Chang Moo Kwan and migrated to Salisbury, North Carolina in the 1960s.
Eventually, in direct descent, it re-blossomed and ripened under the watch-care of Sensei Larry Beal who
taught in Catawba County, North Carolina for more than two decades within the framework of a biblical
worldview, introducing key martial arts principles into the art from extensive training he had received inTomiki
Aikido. Over the years, the traditional arts of Isshin-Ryu, Kyoshu-Jitsu, Tuite, and Small-Circle Jujitsu have
also left a distinct mark on the style now known as Cheonjikido.

Interestingly, a mountain lake by the name of Cheonji (i.e. heaven lake) actually exists. It lies in the caldera of
Baekdu Mountain at 7,182 ft. above sea level, literally straddling the borders of Korea (the land of Grandmaster
Byung In-Yoons birth and the place where he taught martial arts in the 1940s) and the region of Manchuria in
Northeast China (the land where Grandmaster Yoon first learned martial arts under a Mongolian Chuan-fa
master). This lake is fed by precipitation and snow-melt from the surrounding peaks and feeds the land below
via a vibrant 70-meter waterfall near the north outlet. Cheonji Lake is one of the highest and most beautiful
crater lakes in all of the world.

Of additional interest is evidence suggesting that Grandmaster Yoon actually died in the North Korean city of
Cheonjin, nomenclature also linguistically related to our style name.

Thus, the name Cheonjikido boasts historic and philosophical meaning, invariably tied to principal figures in the
black belt lineage that eventually fashioned this art.

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our style patch

The Cheonjikido logo is simple, yet ripe with meaning. The OUTER RED RING boasts a dual significance.
First, proper martial arts training or the way of effectual martial energy is a harmonious annular relationship
that should exist between fundamental technique, the honing of ki, and the application of ki to fundamental
technique (i.e. that which matures, adapts, and reciprocates upon itself). Secondly, martial arts training is
not to be a hierarchy of achievement crowned by fancy titles, ultimate arts, and arrival. Rather, its an
unending quest of humble learning where there are only students and no true masters, a perpetual cycle of
feeding and being fed.

The INNER CIRCLE depicts a mountain lake receiving vitality from four blue triangles while watering the
land below. This represents the way of a heaven lake analogy that embodies the integrative, pragmatic,
and evolving spirit of this art as demonstrated in the training of Chang Moo Kwan founders Byung-In Yoon
and Nam Suk Lee and expressly embraced and taught under the patronage of Sensei Larry Beal.

The FOUR BLUE TRIANGLES represent the four birthplaces of the traditional styles that made their mark
in the lives of the Chang Moo Kwan patriarchs listed at the top of our lineage (i.e. Korea, Japan, Okinawa,
and China).

The THREE WHITE TRIANGLES formed by the spaces between the blue triangles portray the subtle
rhythms of reversal, of which Miyamoto Mushashi, a samurai warrior from the 17th Century wrote: Unless
you understand the rhythms of reversal, your martial artistry will not be reliable. These THREE WHITE
TRIANGLES also pay tribute to the three primary style designations that show up in Cheonjikidos black
belt genealogy, going back to the days of Byung-In Yoon in Seoul, Korea (i.e. Chang Moo Kwan, Carucado,
and Teashikido).

The BLUE COLOR in this logo salutes the original style of indigenous Chang Moo Kwan, as this color was
prominent in early style emblems. The RED COLOR of the outer ring salutes both Carucado and
Teashikido, as this color was prominent in both official style patches. This color also pays subtle tribute

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tothe the traditional style of Japanese Aikido which has heavily influenced our art and proven a key in terms
of unlocking Byung In-Yoons Chuan-fa roots.

The word CHEONJIKIDO appears in both English and Korean hanja (i.e. Chinese script). As Byung-in
Yoon, a Korean, ventured outside tradition to study martial arts in China, so should we never shun
accountability from outside sources and/or other martial arts styles.

Finally, the symbol rising just above the middle blue triangles is the HANJA / KANJI CHARACTER FOR
THE NUMBER 12, a reference to Cheonjikidos Core Principle of Twelves. Interestingly, this numeric
emblem resembles a cross atop a hill. As everything within the inner circle falls below the top of this
symbol, so Cheonjikido operates within the framework of a core principle of twelves and a biblical
worldview that recognizes only one Master or Soke in this earthly life, the Lord Jesus Christ. Subtly, this
symbol also pays tribute to The Twelve, a set of indigenous Chang Moo Kwan forms revived by Nam Suk
Lee during the last years of his life in San Pedro, California before his death in 2000. Through these forms,
taught to us by some of Nam Suk Lees last students, the art of Cheonjikido has been able to reconnect
with the indigenous art that resides at the top of our family tree.

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CLASS CODE OF CONDUCT

APPEARANCE:

1. Students are expected to wear uniforms and belts during class unless otherwise specified by an
instructor for training purposes; belts are to be properly tied.

2. The Cheonjikido style patch is to be worn on the upper-left lapel of the ghi. All students are required to
purchase and don a style patch prior to their first rank promotion.

3. For students, white uniforms only are to be worn below the rank of red belt. Red and brown belt ranks
are allowed to don red pants.

4. Female students are required to wear a modest shirt underneath the ghi top.

5. All students shall maintain clean uniforms and proper hygiene.

6. Fingernails and toenails must be clean and properly trimmed.

7. All items of jewelry, except wedding rings, are to be removed during class.

8. Shoes are not allowed on the dojo mat.

9. Students participating in kumite are required to wear appropriate gear (i.e. gloves, feet gear, and a
mouthpiece). Chest protection is optional for female students.

DOJO PROTOCOL:

1. As a show of respect, all students shall bow before entering or leaving the dojo.

2. During class, no student shall enter or leave the mat without an instructors permission.

3. Students are not to talk while an instructor is teaching and/or demonstrating technique. These should
be watching, hearing, and contemplating what is being taught or demonstrated.

4. At all times, proper respect is to be shown toward instructors and fellow students, regardless of belt
rank or office.

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5. Students are not allowed to comment upon another students performance or proficiency unless
specifically requested to do so by an instructor.

6. Black belt instructors are to be respectfully addressed as sensei (i.e. instructor).

7. It is disrespectful, when bowing in the presence of black belts, for a student to rise before the last dan
comes up from the bow.

8. It is disrespectful for a student to ask an instructor what he/she has planned for a class session.

9. It is disrespectful for a student to ask an instructor about his/her upcoming promotions. Student
promotions are based upon a variety of factors (e.g. class participation, skill, attitude, enthusiasm,
proficiency, and time). The setting of promotion dates is reserved solely for Cheonjikido instructors and
subject to approval by Sensei Boyd.

10. It is disrespectful for a student to request a certain activity or exercise during class unless specifically
asked to do so by an instructor. Classes are usually pre-planned, and only instructors have the
authority to improvise.

11. It is disrespectful for a student to be watching the clock during class.

12. Students under the age of 18 are not allowed to participate in kumite without an instructors close
supervision. Unsupervised kumite outside the dojo is allowed for those students 18 years or older IF an
instructor has been notified.

13. Students should immediately notify an instructor if they are injured, cramping, or feeling sick.

14. Students should be properly hydrated and stretched before class.

ATTITUDE:

1. No student shall challenge another student.

2. No student shall speak disrespectfully to any instructor or question his/her authority. If a student has a
legitimate concern and/or a problem with something that is being taught, he/she should respectfully
approach the particular teacher after class. Students may only bring unsettled matters to the ranking

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instructor in a respectful manner that does not belittle or dispute the rank or authority of another
instructor.

3. During class, students should show a demeanor of respect and teachability at all times.

PROHIBITED IN CLASS:

1. Profanity

2. Smoking

3. Chewing Gum (i.e. other than mint gum for fresh breath)

4. Participation under the influence of alcohol or drugs

5. Immodesty

Students and Instructors should properly represent the art of Cheonjikido and Catawba Valley Martial Arts both
inside and outside the dojo. Law-abiding citizenship, respect for life, and upstanding moral behavior are
expected. Participation in any of the following (inside or outside of class) is subject to disciplinary action and/or
expulsion:

1. Starting a fight or a propensity toward violence

2. Physical abuse of another human being

3. Conviction of a legitimate crime

4. Drunkenness and/or drug abuse

5. Engaging in criminal activity

A STUDENT IS EXPECTED TO INFORM AN INSTRUCTOR CONCERNING ANY PHYSICAL ALTERCATION

IN WHICH HE/SHE HAS BEEN INVOLVED OUTSIDE OF CLASS.

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Tying the belt

In Cheonjikido, there are two ways to tie the belt properly, one for students and a second option for yudansha
(i.e. black belts).

STUDENTS:

1. Fold and crease the belt in the middle with the brand lapel (if applicable) on the inside right.

2. Center the concave side (inside of fold) across the middle of the abdomen.

3. Wrap the belt around the body twice, crossing in the back and bringing the belt ends back to the front.

4. Bring the LEFT END over the right end and pass it under both loops from the bottom.

5. Bring the RIGHT END over the left end and pass it up and back through the loop to tie the final knot.

6. The belt label (if applicable) should be on the left inside when properly tied.

7. The ends of the belt should hand down approximately 8-12 inches from the knot.

8. The belt should be worn snug, not tight, and on the hips and not high on the waist.

9. For black belts who decide to utilize this option, dan stripes should appear on the outside left, opposite
the belt label.

YUDANSHA OPTION:

1. Fold and crease the belt in the middle with the brand lapel (if applicable) on the outside left and dan
stripes (if applicable) on the inside left.

2. Center the concave side (inside of fold) across the middle of the abdomen.

3. Wrap the belt around the body twice, crossing in the back and bringing the belt ends back to the front.

4. Bring the LEFT END over the right end and pass it under both loops from the bottom.

5. Bring the LEFT END over the right end and pass it up and back through the loop to tie the final knot.

6. Dan stripes should appear on the left outside when properly tied.

6. The belt label (if applicable) should be on the left inside when properly tied.

7. The ends of the belt should hand down approximately 8-12 inches from the knot.

8. The belt should be worn snug, not tight, and on the hips and not high on the waist.

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Belt ranking system

*STUDENT RANKINGS

- 10th Level: Sip-Geup (White)

- 9th Level: Gu-Geup (Orange)
- 8th Level: Pal-Geup (Yellow)
- 7th Level: Chil-Geup (Green)
- 6th Level: Yuk-Geup (Advanced Green)
- 5th Level: O-Geup (Blue)
- 4th Level: Sa-Geup (Advanced Blue)
- 3rd Level: Som-Geup (Red)
- 2nd Level: Yi-Geup (Advanced Red)
- 1st Level: IL-Geup (Brown)
- Top Level: Yeong-Geup (Senior Brown Belt, under age 18)

*JUNIOR RANKINGS (up to Chil-Geup)

- 10th Level A: Sip-Geup (White)

- 10th Level B: Sip-Geup Duljae (White)
- 9th Level A: Gu-Geup (Orange)
- 9th Level B: Gu-Geup Duljae (Advanced Orange)
- 8th Level A: Pal-Geup (Yellow)
- 8th Level B: Pal-Geup Duljae (Advanced Yellow)
- 8th Level C: Pal-Geup Setjae (Purple)
- 8th Level D: Pal-Geup Netjae (Advanced Purple)
- 7th Level: Chil-Geup (Green)

**INSTRUCTOR RANKINGS

- 1st Dan: Shodan (Black, must be at least 18 years of age)

- 2nd Dan: Nidan (2nd-degree Black)
- 3rd Dan: Sandan (3rd-degree-Black)

**SENIOR INSTRUCTOR RANKINGS

- 4th Dan: Yondan (4th-degree Black)

- 5th Dan: Godan (5th-degree Black)

**MASTER INSTRUCTOR RANKINGS

- 6th Dan: Rokudan (6th-degree Black)

- 7th Dan: Shichidan (7th-degree Black)
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TITLES

- Sensei: Reserved for Black Belt Instructors

- Senpai: Reserved for Senior Students awarded said title by Instructor for initiative and dedication in
the mentoring and teaching of underclass students
- Sunbae: Reserved for Senior Students awarded said title by Instructor for loyalty to the dojo
- Kohai: Used for Students

*For student rankings, Cheonjikido utilizes Korean names to pay homage to Chang Moo Kwan, the Korean
eclectic style formulated by In Yoon Byung and taught at the Seoul YMCA in the 1940s. Chang Moo Kwan is
the great-grandfather of Cheonjikido according to our black belt lineage.

**For instructor rankings, Cheonjikido utilizes Japanese names to pay homage to the heavy influence of
Japanese and Okinawan traditional styles (i.e. Aikido, Isshin-Ryu, Shotokan, etc.) upon the eclectic and
integrated practice of Cheonjikido.

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Belt rank requirements

SUMMARY OF MANDATORY STUDENT SETS

- Unsoku, Happon Do, Tandoku Undo

- 8 Aikido Hand Grabs
- 10 Official Cheonjikido Kata
- 10 Chang Moo Kwan Kata (Ki-bone 1-5, Pyan-dan 1-5)
- 100 Ippon Kumite, Right & Left Sides (20 Traditional, Aikido 15 Basics, 20 Knife, Aikido 11 Dynamic
Throws, Aikido 17 Advanced, Aikido 10 Counters, 7 Gun)
- 5 Weapons Kata (2 Jo, 2 Bokken, 1 Bo)

10 AREAS OF STUDENT ASSESSMENT

1. Foot Movement
2. Kata
3. Ippon Kumite
4. Basics (Stances, Blocks, Atemi, Kicks, Ukemi, Waza)
5. Advanced Ippon Kumite (traditional, grabs, counters, knife, dynamic, bat, wall, gun, suwari)
6. Weapons Kata
7. Fighting
8. Knowledge
9. Academic Requirements
10. Teaching Requirements

GU-GEUP (ORANGE BELT)

1. Foot Movements: Unsoku (3 sets of 8)

2. Kata (2): Sip-Geup, Ki-bone IL
3. Ippon Kumite (8+5): 8 Aikido Hand Grabs, Traditional RH/LH 1-5
4. Basics
A. Stances (6): attention, hanmi, horse, front-forward, back, side
B. Blocks (4): downward, outside, rising, inward
C. Atemi (5): punch, reverse punch, back-fist, palm-heel, hammer-fist
D. Kicks (3): hip, front, side
E. Ukemi (1): back-fall
F. Waza (8): Ikyo, Nikyo, Sankyo, Yonkyo, Gokyo, Kokyu-nage (breath throw), Irimi-nage (entering
throw), Waki-gatame (side lock)
5. Advanced Ippon Kumite: N/A
6. Weapons Kata: N/A
7. Fighting: block & counter, taking balance, grabs

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8. Knowledge: dojo protocol & etiquette, balance points, catching a punch, basic terminology, kata bunkai
(happo zanshin, application of bow, wrist escape)
9. Academic Requirements: Our Style Name (http://cheonjikido.com/our-name/), Our Style Patch
(http://cheonjikido.com/our-style-patch/)
10. Teaching Requirements: N/A

PAL-GEUP (YELLOW BELT)

1. Foot Movements (2): Happon Do + previous

2. Kata (4): Gu-geup, Ki-bone E + previous
3. Ippon Kumite (8+10): Traditional 1-10 RH/LH + previous
4. Basics
A. Stances (6): previous
B. Blocks (6): knife, shuto + previous
C. Atemi (6): spear-hand + previous
D. Kicks (3): previous
E. Ukemi (2): front roll + previous
F. Waza (12): Shomen-ate (front attack), Gyakugamae-ate (reverse posture attack), Ude-gaeshi (arm
reverse), Kote-gaeshi (wrist reverse) + previous
5. Advanced Ippon Kumite: 5 RH/LH (traditional)
6. Weapons Kata: N/A
7. Fighting: knife blocking (stabs), spontaneous attacks, kumite (1-on-1)
8. Knowledge: Cheonjikido Core Principles of Spirit #1-6, Cheonjikido Board of Directors (ranks, titles,
roles), 5 Elements of Kata, kata bunkai (Kokyu-nage, Ude-gaeshi, Kote-gaeshi)
9. Academic Requirements: Itosus Ten Precepts of Karate
(http://cheonjikido.com/itosus-ten-precepts-of-karate/), Principles of Kata
(http://cheonjikido.com/principles-of-kata/),
10. Teaching Requirements: N/A

CHIL-GEUP (GREEN BELT)

1. Foot Movements (3): Tandoku-undo + previous

2. Kata (6): Pal-geup, Ki-bone Som + previous
3. Ippon Kumite (8+20): Traditional 1-20 RH/LH + previous
4. Basics
A. Stances (8): sochin-dachi, cat + previous
B. Blocks (7): cross + previous
C. Atemi (8): shuto, phoenix-fist, + previous
D. Kicks (4): roundhouse + previous
E. Ukemi (3): side fall + previous
F. Waza (14): Ushiro-ate (rear attack), Hiki-taoshi (pull down) + previous
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5. Advanced Ippon Kumite: 10 RH/LH (traditional, grabs)

6. Weapons Kata: N/A
7. Fighting: knife blocking (slashes), eyes closed, kumite (1-on-1)
8. Knowledge: Cheonjikido Core Principles of Spirit #1-12, 3 Stages of Kata Development, kata bunkai
(applications of downward block + punch combination)
9. Academic Requirements: Principles of Ki (http://cheonjikido.com/principles-of-ki/), Bunkai Disassembly
of Early Chang Moo Kwan Forms (Video)
10. Teaching Requirements: N/A

YUK-GEUP (ADVANCED GREEN BELT)

1. Foot Movements (3): previous

2. Kata (8): Chil-geup, Ki-bone Sa + previous
3. Ippon Kumite (8+35): Aikido 15 Basics + previous
4. Basics
A. Stances (10): low-leg stretching, hangetsu-dachi + previous
B. Blocks (7): previous
C. Atemi (9): ridge + previous
D. Kicks (6): inside crescent, outside crescent + previous
E. Ukemi (4): floating leaf + previous
F. Waza (20): Aigamae-ate (normal posture attack), Oshi-taoshi (push down, pull down), Ude-garame
(arm entanglement), Kote-hineri (wrist twist), Kote-mawashi (wrist torque), Shiho-nage
(four-direction throw) + previous
5. Advanced Ippon Kumite: 15 RH/LH (traditional, grabs, counters)
6. Weapons Kata: N/A
7. Fighting: randori (2-on-1), kumite (2-on-1)
8. Knowledge: Cheonjikido Core Principles of Spirit #1-12, Cheonjikido Core Principles of Soul #1-6, kata
bunkai (Shiho-nage & rhythms of reversal, 2 variations of Irimi-nage in Chil-geup)
9. Academic Requirements: Jack Mumpower - 15 Basic Techniques (Video), Influential Traditional Styles
(http://cheonjikido.com/influential-traditional-styles/)
10. Teaching Requirements: Class Stretching & Warm-ups

O-GEUP (BLUE BELT)

1. Foot Movements (3): previous

2. Kata (10): Yuk-geup, Ki-bone O + previous
3. Ippon Kumite (8+55): 20 Knife Ippons + previous
4. Basics
A. Stances (10): previous
B. Blocks (7): previous

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C. Atemi (10): ox-jaw + previous

D. Kicks (7): back + previous
E. Ukemi (5): flipping + previous
F. Waza (21): Tenchi-nage (heaven & earth throw) + previous
5. Advanced Ippon Kumite: 25 RH/LH (traditional, grabs, counters, knife)
6. Weapons Kata: N/A
7. Fighting: randori (2-on-1) blindfolded, kumite (2-on-1)
8. Knowledge: Cheonjikido Core Principles of Spirit #1-12, Cheonjikido Core Principles of Soul #1-12, kata
bunkai (review previous)
9. Academic Requirements: Our Dojo History (http://cheonjikido.com/our-historical-background/);
WRITTEN EXAM
10. Teaching Requirements: Foot Movements

SA-GEUP (ADVANCED BLUE BELT)

1. Foot Movements (3): previous

2. Kata (12): O-geup, Pyan-dan IL + previous
3. Ippon Kumite (8+66): 11 Dynamic Throws + previous
4. Basics
A. Stances (11): crossed-feet, previous
B. Blocks (7): previous
C. Atemi (10): previous
D. Kicks (8): hatchet + previous
E. Ukemi (5): previous
F. Waza (22): Kaiten-nage (rotating throw) + previous
5. Advanced Ippon Kumite: 40 RH/LH (traditional, grabs, counters, knife, dynamic)
6. Weapons Kata (1): Jo Kata #1
7. Fighting: randori (3-on-1), kumite (3-on-1)
8. Knowledge: Cheonjikido Core Principles of Spirit #1-12, Cheonjikido Core Principles of Soul #1-12,
Cheonjikido Core Principles of Body #1-6, kata bunkai (1 application from Cheonjikido kata)
9. Academic Requirements: Seven Principles of Kata Interpretation, Kyusho-Jitsu Theory, Pyan-dan Il
Bunkai (Video), WRITTEN EXAM
10. Teaching Requirements: 1 complete class with lower ranks

SOM-GEUP (RED BELT)

1. Foot Movements (3): previous

2. Kata (14): Sa-geup, Pyan-dan E + previous
3. Ippon Kumite (8+83): Aikido 17 Advanced + previous
4. Basics
A. Stances (14): crane, bow & arrow, 70/30 + previous

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B. Blocks (7): previous

C. Atemi (10): previous
D. Kicks (9): hook + previous
E. Ukemi (5): previous
F. Waza (25): Mae-otoshi (forward drop), Sumi-otoshi (corner drop), Hiki-otoshi (pull drop) + previous
5. Advanced Ippon Kumite: 50 RH/LH (traditional, grabs, counters, knife, dynamic, bat)
6. Weapons Kata (2): Bokken Kata #1 + previous
7. Fighting: weapons, randori (3-on-1) blindfolded, kumite (3-on-1)
8. Knowledge: Cheonjikido Core Principles of Spirit #1-12, Cheonjikido Core Principles of Soul #1-12,
Cheonjikido Core Principles of Body #1-12, kata bunkai (3 applications from Cheonjikido kata)
9. Academic Requirements: Cheonjikido Pressure Point Manual, Pyan-dan E Bunkai (Video), Jack
Mumpower - Comparing the Basic 15 and the 17 Advanced (Video), WRITTEN EXAM
10. Teaching Requirements: 2 complete classes with lower ranks

E-GEUP (ADVANCED RED BELT)

1. Foot Movements (3): previous

2. Kata (16): Som-geup, Pyan-dan Som + previous
3. Ippon Kumite (8+93): Aikido 10 Counters + previous
4. Basics
A. Stances (14): previous
B. Blocks (7): previous
C. Atemi (10): previous
D. Kicks (9): previous
E. Ukemi (5): previous
F. Waza (25): previous
5. Advanced Ippon Kumite: 60 RH/LH (traditional, grabs, counters, knife, dynamic, bat, wall)
6. Weapons Kata (3): Jo Kata #2 + previous
7. Fighting: weapons (2-on-1), randori (4-on-1), kumite (3-on-1)
8. Knowledge: applications of Cheonjikido Core Principles of Twelves, pressure point clusters, kata bunkai
(5 applications from Cheonjikido kata)
9. Academic Requirements: Pyan-dam Som Bunkai (Video), Tomiki Aikido (Video), WRITTEN EXAM
10. Teaching Requirements: 2 complete classes with lower ranks

IL-GEUP (BROWN BELT)

1. Foot Movements (3): previous

2. Kata (18): E-geup, Pyan-dan Sa + previous
3. Ippon Kumite (8+100): 7 Gun Ippons + previous
4. Basics
A. Stances (14): previous

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B. Blocks (7): previous

C. Atemi (10): previous
D. Kicks (9): previous
E. Ukemi (5): previous
F. Waza (25): previous
5. Advanced Ippon Kumite: 75 RH/LH (traditional, grabs, counters, knife, dynamic, bat, wall, gun)
6. Weapons Kata (4): Bokken Kata #2 + previous
7. Fighting: weapons (3-on-1), randori (5-on-1), kumite (4-on-1)
8. Knowledge: pressure point
meridians, kata bunkai (3 pressure points applications from Cheonjikido kata)
9. Academic Requirements: Indigenous Chang Moo Kwan Bunkai (Video); One Principle, One Thousand
Techniques; WRITTEN EXAM
10. Teaching Requirements: 3 complete classes

*YEONG-GEUP (SENIOR BROWN BELT)

Yeong-geup, or Senior Brown Belt, is a transitional rank adopted by Catawba Valley Martial Arts in order to
accommodate students below the age of eighteen (18) who have met the requirements for the rank of
Shodan (i.e. black belt). Catawba Valley Martial Arts considers a Black Belt to be more than just an expert
performer of Cheonjikido technique. Rather, we hope that such will prove able instructors of what they
have learned, as well as good citizens with virtuous moral character and emotional maturity. Cheonjikido
needs confident, yet humble yudansha (i.e. black belts) who will represent the style well as both members
and instructors. That being said, WE DO NOT BELIEVE THAT CHARACTER DEVELOPMENT IS FULLY
ACQUIRED AND CAPABLE OF BEING PROPERLY ASSESSED IN AN INDIVIDUAL BELOW THE AGE
OF EIGHTEEN. This age, therefore, is considered to be the earliest point of determining whether a student
can responsibly represent Catawba Valley Martial Arts and/or the style of Cheonjikido within the community
as a Black Belt. The Yeong-geup rank will be implemented in the following fashion:

1. A brown belt student below the age of eighteen (18), who has been deemed ready for promotion by his
instructor, will undergo the normal promotion procedure for the rank of Shodan (black belt), complete in
every respect.
2. If criterion for a black belt is met, the student below the age of eighteen (18) will be awarded the senior
brown belt rank.

3. This rank will be signified by a black strip worn on the brown belt.
4. The promotion fee will be one-half of the amount designated for black belt; the other half is payable
when and if the senior brown belt is awarded the full rank of black belt.

5. A senior brown belt will rank between brown and black belts in class formation.
6. Senior brown belts may attend yudansha meetings but WILL NOT retain voting privileges.

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7. Upon reaching the age of eighteen (18), a senior brown belt is eligible to be recommended by his
instructor for the rank of Shodan (black belt). THIS WILL BE BY INVITATION AND IS NOT
AUTOMATIC.
8. An actual re-testing in terms of a senior brown belt being awarded a black belt is up to the discretion of
the yudansha.

9. This rank is never to be awarded for an inferior performance by a student testing for black belt. The
promotee is to be a qualified black belt in every respect except age.

10. Exceptions to this age limitation or the implementation of the yeong-geup rank are on a case-by-case
basis and us ultimately left to the discretion of the yudansha.

SHODAN (BLACK BELT) - BY INVITATION ONLY

*MUST BE AT LEAST 18 YEARS OF AGE

1. Foot Movements (3): previous

2. Kata (20): IL-geup, Pyan-dan O + previous
3. Ippon Kumite (8+100): previous
4. Basics
A. Stances (15): sanchin + previous
B. Blocks (7): previous
C. Atemi (10): previous
D. Kicks (9): previous
E. Ukemi (5): previous
F. Waza (25): previous
5. Advanced Ippon Kumite: 100 RH/LH (traditional, grabs, counters, knife, dynamic, bat, wall, gun, suwari)
6. Weapons Kata (5): Bo Kata #1 + previous
7. Fighting: weapons (3-on-1), suwari (3-on-1) blindfolded, randori (8-on-1), kumite (4-on-1)
8. Knowledge: 5 advanced kata bunkai; pressure point meridians; teaching proficiency concerning
Cheonjikido Core Principle of Twelves, terminology, dojo history, style background, and undergirdings of
traditional style; familiarity concerning Black Belt ranking system and Black Belt Board protocol
9. Academic Requirements: Larry Beal Kyusho-jitsu Seminar (Video), From Point Zero to Ground Zero;
RESEARCH PAPER (topic determined by Black Belt Board of Directors)
10. Teaching Requirements: 5 complete classes
11. OTHER: Traditional Kata of students choice, must be approved by instructor; First Aid & CPR
Certification

Copyright Cheonjikido, 2013. All Rights Reserved.

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NIDAN (2ND DEGREE BLACK BELT)

1. Cheonjikido Kata #1-5 with rhythms of reversal

2. Chang Moo Kwan Kata: Chulgi IL, Gensu-Gensa
3 Koryu-Dai-Ichi, Koryu-Dai-Ni
4. Bo Kata #2-3
5. Jo Kata #3-4

SANDAN (3RD DEGREE BLACK BELT)

1. Cheonjikido Kata #6-10 with rhythms of reversal

2. Tan-Tui Kata
3. Goshin-Ho
4. Koryu-Dai-San, Koryu-Dai-Yon
5. Bo Kata #4-5

YONDAN (4th DEGREE BLACK BELT) & ABOVE

There are no formal tests above the rank of Sandan. Subsequent ranks are awarded based upon time,
active participation, consistent contribution, training, and teaching in the art of Cheonjikido.

Copyright Cheonjikido, 2013. All Rights Reserved.

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JUNIOR Belt rank requirements

SIP-GEUP DULJAE (ADVANCED WHITE BELT)

1. Foot Movements: Unsoku (first 2 sets of 8)

2. Kata (1): Sip-geup
3. Ippon Kumite (8): 8 Aikido Hand Grabs
4. Basics
A. Stances (6): attention, hanmi, horse, front-forward, back, side
B. Blocks (2): downward, outside
C. Atemi (2): punch, reverse punch
D. Kicks (1): hip
E. Ukemi: floor exercises
F. Waza (5): Ikyo, Nikyo, Sankyo, Yonkyo, Gokyo
5. Advanced Ippon Kumite: N/A
6. Weapons Kata: N/A
7. Fighting: block & counter
8. Knowledge: dojo protocol & etiquette, balance points, kata bunkai (application of bow, happo zanshin)
9. Academic Requirements: Our Style Name (http://cheonjikido.com/our-name/)
10. Teaching Requirements: N/A

GU-GEUP (ORANGE BELT)

1. Foot Movements: Unsoku (3 sets of 8)

2. Kata (2): Sip-Geup, Ki-bone IL
3. Ippon Kumite (8+5): 8 Aikido Hand Grabs, Traditional RH/LH 1-5
4. Basics
A. Stances (6): previous
B. Blocks (4): downward, outside, rising, inward
C. Atemi (5): back-fist, palm-heel, hammer-fist
D. Kicks (3): front, side + previous
E. Ukemi (1): back-fall
F. Waza (8): Kokyu-nage (breath throw), Irimi-nage (entering throw), Waki-gatame (side lock)
5. Advanced Ippon Kumite: N/A
6. Weapons Kata: N/A
7. Fighting: block & counter, taking balance, grabs
8. Knowledge: dojo protocol & etiquette, balance points, catching a punch, basic terminology, kata bunkai
(wrist escape)
9. Academic Requirements: Our Style Patch (http://cheonjikido.com/our-style-patch/)
10. Teaching Requirements: N/A

GU-GEUP DULJAE (ADVANCED ORANGE BELT)

Copyright Cheonjikido, 2013. All Rights Reserved.
23

1. Foot Movements (1): previous

2. Kata (3): Ki-bone E + previous
3. Ippon Kumite (8+7): Traditional 1-7 RH/LH + previous
4. Basics
A. Stances (6): previous
B. Blocks (5): knife + previous
C. Atemi (5): previous
D. Kicks (3): previous
E. Ukemi (2): front roll (checking fall) + previous
F. Waza (10): Shomen-ate (front attack), Gyakugamae-ate (reverse posture attack)
5. Advanced Ippon Kumite: 2 RH/LH (traditional)
6. Weapons Kata: N/A
7. Fighting: knife blocking (stabs), kumite basics
8. Knowledge: Cheonjikido Core Principles of Spirit #1-3, kata bunkai (Kokyu-nage)
9. Academic Requirements: Itosus Ten Precepts of Karate
(http://cheonjikido.com/itosus-ten-precepts-of-karate/)
10. Teaching Requirements: N/A

PAL-GEUP (YELLOW BELT)

1. Foot Movements (2): Happon Do + previous

2. Kata (3): Gu-geup + previous
3. Ippon Kumite (8+10): Traditional 1-10 RH/LH + previous
4. Basics
A. Stances (6): previous
B. Blocks (6): shuto + previous
C. Atemi (6): spear-hand + previous
D. Kicks (3): previous
E. Ukemi (2): front roll (rolling up) + previous
F. Waza (12): Ude-gaeshi (arm reverse), Kote-gaeshi (wrist reverse) + previous
5. Advanced Ippon Kumite: 5 RH/LH (traditional)
6. Weapons Kata: N/A
7. Fighting: spontaneous attacks, kumite (1-on-1)
8. Knowledge: Cheonjikido Core Principles of Spirit #1-6, Cheonjikido Board of Directors (ranks, titles,
roles), 5 Elements of Kata, kata bunkai (Kokyu-nage, Ude-gaeshi)
9. Academic Requirements: Principles of Kata (http://cheonjikido.com/principles-of-kata/)
10. Teaching Requirements: N/A

Copyright Cheonjikido, 2013. All Rights Reserved.

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PAL-GEUP DULJAE (ADVANCED YELLOW BELT)

1. Foot Movements (2): Happon Do with sword + previous

2. Kata (5): Ki-bone Som + previous
3. Ippon Kumite (8+12): Traditional 1-12 RH/LH + previous
4. Basics
A. Stances (6): previous
B. Blocks (6): previous
C. Atemi (6): previous
D. Kicks (3): previous
E. Ukemi (2): previous
F. Waza (12): previous
5. Advanced Ippon Kumite: 6 RH/LH (traditional)
6. Weapons Kata: N/A
7. Fighting: knife blocking (stabs), spontaneous attacks, kumite (1-on-1)
8. Knowledge: Cheonjikido Core Principles of Spirit #1-8, kata bunkai (review previous)
9. Academic Requirements: review previous
10. Teaching Requirements: N/A

PAL-GEUP SETJAE (PURPLE BELT)

1. Foot Movements (3): Tandoku-Undo (first 3 sets of 8) + previous

2. Kata (5): previous
3. Ippon Kumite (8+15): Traditional 1-15 RH/LH + previous
4. Basics
A. Stances (6): previous
B. Blocks (6): previous
C. Atemi (6): previous
D. Kicks (3): previous
E. Ukemi (2): previous
F. Waza (12): previous
5. Advanced Ippon Kumite: 7 RH/LH (traditional)
6. Weapons Kata: N/A
7. Fighting: knife blocking (stabs), spontaneous attacks, kumite (1-on-1)
8. Knowledge: Cheonjikido Core Principles of Spirit #1-10, kata bunkai (review previous)
9. Academic Requirements: review previous
10. Teaching Requirements: N/A

PAL-GEUP NETJAE (ADVANCED PURPLE BELT)

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1. Foot Movements (2): Tandoku-Undo (first 6 sets of 8) + previous

2. Kata (6): Pal-geup + previous
3. Ippon Kumite (8+18): Traditional 1-18 RH/LH + previous
4. Basics
A. Stances (7): sochin-dachi + previous
B. Blocks (6): previous
C. Atemi (8): shuto, phoenix-fist, + previous
D. Kicks (3): previous
E. Ukemi (3): side fall + previous
F. Waza (12): previous
5. Advanced Ippon Kumite: 8 RH/LH (traditional, grabs)
6. Weapons Kata: N/A
7. Fighting: knife blocking (stabs), spontaneous attacks, kumite (1-on-1)
8. Knowledge: Cheonjikido Core Principles of Spirit #1-12, kata bunkai (review previous)
9. Academic Requirements: Principles of Ki (http://cheonjikido.com/principles-of-ki/)
10. Teaching Requirements: N/A

CHIL-GEUP (GREEN BELT)

1. Foot Movements (3): Tandoku-undo (8 sets of 8) + previous

2. Kata (6): previous
3. Ippon Kumite (8+20): Traditional 1-20 RH/LH + previous
4. Basics
A. Stances (8): cat + previous
B. Blocks (7): cross + previous
C. Atemi (8): previous
D. Kicks (4): roundhouse + previous
E. Ukemi (3): previous
F. Waza (14): Ushiro-ate (rear attack), Hiki-taoshi (pull down)
5. Advanced Ippon Kumite: 10 RH/LH (traditional, grabs)
6. Weapons Kata: N/A
7. Fighting: knife blocking (slashes), eyes closed, kumite (1-on-1)
8. Knowledge: 3 stages of kata development, kata bunkai (applications of downward block + punch
combination)
9. Academic Requirements: Bunkai Disassembly of Early Chang Moo Kwan Forms (Video)
10. Teaching Requirements: N/A

Copyright Cheonjikido, 2013. All Rights Reserved.

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PROMOTIONs

Belt promotions in Cheonjikido are not guaranteed, neither are they automatic. Moreover, it is considered
extremely rude and unbecoming for a student to ask a black belt instructor concerning the time and/or manner
of a possible promotion. All promotions are left up to the discretion of the yudansha under the executive
authority of Sensei Jesse Boyd. In general, a dedicated student should expect a minimum of three months
between belts up to the rank of Sa-Geup (advanced blue belt), and at least six months per rank from Som-
Geup (red belt) up to Shodan (black belt). A student who is committed and resolute can expect a MINIMUM of
three years consistent and dedicated training to qualify for black belt promotion. Exceptions to the above
minimum timeframes will be handled on a individual basis and must be approved by a majority of the
Cheonjikido yudansha. Brown and black belt promotions are BY INVITATION ONLY and must be approved by
at least 2/3 of the Cheonjikido yudansha. As previously promulgated, to receive the rank of Shodan (black
belt), a student must be at least 18 years of age.

PROMOTION FEES ARE REQUIRED AND MUST BE COLLECTED IN FULL BEFORE A STUDENT TESTS
FOR PROMOTION. REFUNDS, IF APPLICABLE, WILL BE ISSUED TO THE STUDENT FOLLOWING THE
TEST. FEE SCHEDULE IS AS FOLLOWS:

RANK PASS FAIL

White Belt - Adv. Red Belt: $25.00 $10.00

Brown Belt: $50.00 $25.00

Black Belt: $100.00 $50.00

When a student passes a promotion test, he will receive a new appropriately-colored belt along with a
professionally-designed certificate to commemorate the occasion.

Copyright Cheonjikido, 2013. All Rights Reserved.

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Cheonjikidos Core Principle of Twelves

On the Cheonjikido style patch, the hanja/kanji for the number twelve appears at the top, a direct reference to

our Core Principle of Twelves. This symbol also resembles a cross upon a hillside. As everything within the

inner circle of the patch falls below the top of this hanja, so the art of Cheonjikido emanates from the

framework of core principles and a biblical worldview that recognizes only one Master or Soke in this earthly

life, the Lord Jesus Christ.

The human being, its whole person, is a trinity, possessing a spirit (i.e. conscience, bridge to the Creator), a

soul (i.e. mind, will, emotions), and a physical body (I Thessalonians 5:23). Suchis the essence of the Imago

Dei (Genesis 1:27). Each of these parts, though distinct with each reserving the full and unique identity of the

person, are interconnected and do not exist or operate independent of the others. Therefore, a true and holistic

martial artist must train body, soul, and spirit; thus a Core Principle of Twelves: twelve principles of spirit,

twelve principles of soul, twelve principles of body. The three horizontal lines in the hanja/kanji for the number

twelve represent the three parts of the person (i.e. spirit, soul, and body) and the three sets of twelve that

correspondingly result. The vertical line represents mans Creator; and as the vertical line only intersects with

the top horizontal line, so the spirit of man is the only conduit by which the person can communicate or

fellowship with His Maker.

Within Cheonjikidos Core Principle of Twelves are reflected Chang Moo Kwans Eight Elements of Courtesy

and Eight Elements of Fighting, as well as the Ten Principles of Aikido. These reflections are highlighted below

in BOLD PRINT.

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TWELVE PRINCIPLES OF SPIRIT

1. REALITY

Martial arts is not religion; martial arts did not develop from Buddhism or Confucianism; and Cheonjikido is
not the holy grail of martial arts, nor is it of primary purpose in this life.

Let us hear the conclusion of the whole matter: Fear God, and keep his commandments: for this is the
whole duty of man. For God shall bring every work into judgment with every secret thing, whether it be
good, or whether it be evil (Ecclesiastes 12:13-14).

2. MORTALITY

The martial artist is finite, always vulnerable, and inevitably meets his Maker.

I returned, and saw under the sun, that the race is not to the swift, nor the battle to the strong, neither yet
bread to the wise, nor yet riches to men of understanding, nor yet favour to men of skill; but time and
chance happeneth to them all (Ecclesiastes 9:11).

For all flesh is as grass, and all the glory of man as the flower of grass. The grass withereth, and the flower
thereof falleth away (I Peter 1:24).

And as it is appointed unto men once to die, but after this the judgment (Hebrews 9:27).

3. WORSHIP

Cheonjikido operates within the framework of a biblical worldview that acknowledges only one Soke or
Master in this earthly life, the Lord Jesus Christ.

But to us there is but one God, the Father, of whom are all things, and we in him; and one Lord Jesus
Christ, by whom are all things, and we by him (I Corinthians 8:6).

God is a Spirit: and they that worship him must worship him in spirit and in truth (John 4:24).

Copyright Cheonjikido, 2013. All Rights Reserved.

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Thou shall love the Lord thy God with all thy heart, and with all thy soul, and with all thy mind. This is the
first and greatest commandment . . . (Matthew 22:37-38).

4. LOVE

It is by love that the martial artist can be saved from harm while his attackers are spared from sin.

. . . And the second is like unto it, Thou shalt love thy neighbor as thyself. On these two commandments
hang all the law and the prophets (Matthew 22:39-40).

Therefore all things whatsoever ye would that men should do to you, do ye even so to them: for this is the
law and the prophets (Matthew 7:12).

5. KARMA

That martial artist who lives by the sword dies by the sword.

Be not deceived; God is not mocked: for whatsoever a man soweth, that shall he also reap (Galatians
6:7).

Put up again thy sword into his place: for all they that take the sword shall perish with the sword (Matthew
26:52).

6. RESTRAINT

To understand the art of self-defense, one must first control uke of self.

He that hath no rule over his own spirit is like a city that is broken down, and without walls (Proverbs
25:28).

He that is slow to anger is better than the mighty; and he that ruleth his spirit than he that taketh a city
(Proverbs 16:32).

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7. VIRTUE

Martial arts without a moral framework is nothing short of barbarism.

According as his divine power hath given unto us all things that pertain unto life and godliness, through
the knowledge of him that hath called us to glory and virtue (II Peter 1:3).

For he that will love life, and see good days, let him refrain his tongue from evil, and his lips that they
speak no guile: Let him eschew evil, and do good . . . (I Peter 3:10-11).

8. PEACE

A brawler fights for vengeance; a martial artist fights for peace and healing.

. . . Let him seek peace and ensue it (I Peter 3:11).

Blessed are the peacemakers . . . (Matthew 5:9).

If it be possible, as much as lieth in you, live peaceably with all men (Romans 12:18).

9. MEEKNESS

Meekness is not weakness; its humbleness of speech and aversion to haste. Armed with meekness, the
mouth is a formidable first line of defense that can disarm and diffuse.

To speak evil of no man, to be no brawlers, but gentle, shewing all meekness unto all men (Titus 3:2).

Let every man be swift to hear, slow to speak, slow to wrath (James 1:19).

He that hath knowledge spareth his words (Proverbs 17:27).

A soft answer turneth away wrath: but grievous words stir up anger (Proverbs 15:1).

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10. DUTY

A martial artist is duty-bound to defend those who cannot defend themselves.

If thou faint in the day of adversity, thy strength is small. If thou forbear to deliver them that are drawn unto
death, and those that are ready to be slain; If thou sayest, Behold, we knew it not; doth not he that
pondereth the heart consider it? and he that keepeth thy soul, doth not he know it? and shall not he render
to every man according to his works? (Proverbs 24:10-12).

Hereby perceive we the love of God, because he laid down his life for us: and we ought to lay down our
lives for the brethren (I John 3:16).

11. LONGSUFFERING

Martial arts cannot be learned quickly. Like a slowing moving bull, it eventually travels a thousand miles.

But let patience have her perfect work, that ye may be perfect and entire, wanting nothing (James 1:4).

12. CULTIVATION

The role of a student is perpetual and must be cultivated according to capability; there is no security in
belt color; and a black belt is little more than a doorway to further learning, critical assessment, and
integration.

The way of a fool is right in his own eyes: but he that hearkeneth unto counsel is wise (Proverbs 12:15).

Give instruction to a wise man, and he will be yet wiser: teach a just man, and he will increase in learning
(Proverbs 9:9).

Copyright Cheonjikido, 2013. All Rights Reserved.

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TWELVE PRINCIPLES OF Soul

1. THE LESSONS OF HISTORY

A successful martial artist must know where he came from to know where he is going; and if one values the
lessons of history, his art is by default eclectic, pragmatic, and evolving.

Those that dont know their history are doomed to repeat it; those that dont know their history may be
doomed NOT to repeat it.

2. KATA = BRIDGE + ATLAS + TREASURE CHEST

Kata defines a style: the BRIDGE to prompt and effective disarmament, an ATLAS of martial technique,
and a TREASURE CHEST of martial principle.

A martial arts fool hath said in his heart that kata hath no value.

Kata is a self-defense manual meant to be studied and applied, not memorized and performed.

3. THE WAY OF A HEAVEN LAKE

The way of a heaven lake accumulates, integrates, and cultivates.

A martial arts student who constantly learns without opportunity to teach what he has learned inevitably
overtrains and becomes burned out or undertrains and falls into stagnancy. A martial arts instructor who
teaches without being taught becomes self-absorbed and eventually dries up.

There are no superior martial arts, only superior martial artists. Moreover, all Cheonjikido students are
instructors, and all Cheonjikido instructors are perpetual students.

4. FILIAL PIETY

There are righteous obligations between a martial arts instructor and his students.

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33

As from children of age toward an aged father, so does ones sensei merit respect, courtesy, and a
measure of loyalty.

As from children toward an aged mother, so do ones students merit esteem, succor, and tender
commitment.

As from children of age toward one another, so do ones martial siblings merit trust as between friends
through training that is exercise and not competition.

5. LIVING CALMNESS

As the calm still surface of the lake which reflects alike the moon and the flying bird, so must the soul of a
martial artist live calm.

Rest with remaining mind (i.e. zanshin); encounter enmity with no mind (i.e. mushin); and gaze as falling
snow upon the whole of an opponent.

6. DISCRETION

Discretionary living is healthful living.

A wise martial artist is circumspect: perceiving with the sword and against the sword, avoiding an
unnecessary fight and refusing a fight he is certain to lose.

7. THE ART OF SUBDUING

Wisdom favors subduing ones opponent (i.e. naha-te) over destroying him (i.e shuri-te); and at times, to
truly subdue is to reluctantly destroy, and that right quickly.

The art of subduing must be quick: If a fight lasts more than thirty seconds, the martial artist has failed to
subdue his opponent.

Copyright Cheonjikido, 2013. All Rights Reserved.

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8. THE ART OF INITIATIVE

Practice go-no-sen, taking defensive initiative against the periphery of an attack.

Seek sen-no-sen, taking initiative against the onset of an attack.

Pursue sen-sen-no-sen, taking superior initiative against the intent of an attack.

9. RHYTHMS OF REVERSAL

Unless one understands the rhythms of reversal, his martial artistry will not be reliable.

Kata conceals information in both its normal progression and the rhythms of reversal.

10. CREATIVE DEVELOPMENT

To train for a long time, simply rehearsing and regurgitating with the hands and feet, is the way of a puppet,
not unlike one who learns to dance. To train with the heart and soul, creating and developing for the sake
of others, is the way of an artist.

A martial puppet waxes old and dies alone. A martial artist bequeaths an array of tools, tools not handed to
him.

11. PRACTICE WHAT IS PREACHED

Words must be put into practice, yet true practice is not with words; its with the entire body. What the
martial artist has learned through preaching can be forgotten very quickly, but what he has learned through
practice with the whole body can be remembered for a lifetime.

A martial artist who does not put into practice what he preaches, able to pontificate but unable to
demonstrate, erects his house upon a foundation of sand.

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12. KOKYU

Cheonjikido without kokyu is like a car without fuel. To breathe is not simply to inhale and exhale, but to
concentrate power and effect timing in such a way that the martial artist dances to his own rhythm:
breathing freely and allowing his energy to flow.

Without breathing control, the martial artist cannot relax, and if the martial artist cannot relax, he loses a
source of considerable power necessary to execute successful techniques.

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TWELVE PRINCIPLES OF body

1. EXTENDING KI

If you are alive, you have kibestowed by the Omnipotent Creator of all things when He breathed into the
nostrils of our first father and man became a living soul. If you are healthy, you have just as much ki as any
martial arts master.

The martial artist must be as a blade upon a whetstone, honed unto an awareness of the breath of life. He
must be as steam rising from a pot of cooking rice, wont to extend that vitality from the harmony of the
mind, will, and emotions through the physical medium of the body.

Aiki, the static expression of ki, is the undistracted state in which ones living soul and its attributes, some to
a greater or lesser extent, are brought into harmony with the motions or actions of ones own physical body.

Kiai or Kihap, the dynamic expression of aiki, is the harmony or coordinated focus of body
and soul extended through an opponent to upset his balance and end the fight. In terms of kata, the use of
the kiai/kihap or the spirit shout is a tool for dynamically exerting aiki and eventually learning to do so
without opening ones mouth or even moving.

Extending ki (i.e. maintaining aiki and exerting kiai/kihap) is foundational to putting away weakening
distraction and honing and applying ones very soul in a conflict situation. Doing so can defeat a
formidable opponent with a single glance.

2. MA-AI

Maintaining adequate distance in encounters where space is forever changing, with every attack and
every opponent, is crucial: never close enough to be hit, never far enough to be countered.

A martial artist must lean to constantly judge the changing ma-ai of an encounter, and training with an
assortment of ukes with different levels of strength and ability is the best means to that end.

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3. HITTING WITH THE PLANETS

A formidable martial artist doesnt strike with his hands or his feet, he hits with the planets, working in
harmony with the laws of physics and using them to his advantage.

The human body is finite, always vulnerable, and governed by the laws of physics. Therefore, effecting
kuzushi is the primary objective in any fight situation; musubi delegates advantage to the weak; muchimi
diminishes reaction; natural and compact motion trumps that which is tense and protracted; dual action
forces an opponent to choose; circular motion disrupts an opponents ability to stand or support himself by
redirecting and accelerating force; and the ability to subtly shift ones weight is the mark of a sure
foundation.

A martial artist must be a physical scientist who understands and applies the laws of kinetic energy (i.e. the
kinetic energy of an object is directly proportional to the square of its speed, so move 3 times faster, hit 9
times harder) motion (i.e. for every action there is an equal and opposite reaction), and thermodynamics
(i.e. energy cannot be created or destroyed, only redirected or transformed, and everything moves from a
state of order to disorder).

4 ONE POINT

Itten, just below the belt knot, is the physical center of the body; and when the whole body moves from this
one point and goes to one point, the weak become strong.

One point movement is whole body movement, and it is crucial for the martial artist to see every stance,
every step, every strike, every throw, every transition, and every technique as necessarily involving this tai-
sabaki and so deep that it cannot be mastered for a long, long time.

Whole body movement develops whole body wisdom that acts instinctively and goes to one point. If a
martial artist can perform one technique, he has one technique; if he understands the applies the principles
of one point and tai sabaki to one technique, he has a thousand techniques.

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5. WEIGHT UNDERSIDE

Cheonjikido is 70% footwork and 30% hand technique, beginning from stance and keeping ones weight
underside.

Like a Daruma doll, a martial artist who keeps his weight underside may be tilted but not trampled, never
overextending that he might arise and return.

6. DEFENSIVE ATEMI

There are no obvious first strikes in Cheonjikido, only defensive atemi purposed, not to
injure, but to unbalance, protect balance, or obliterate the will to fight.

7. TARGETING PRECISION

Accuracy in attack and defense is of more value than the strength of an ox; and the ability
to pinpoint one technique is worth more than a hundred punches and kicks.

Developing true targeting precision necessitates supplementing and complimenting ones art with the
principles of Tuite and Kyusho-jitsu.

8. REPETITION + SYMMETRY = INSTINCT

Repetition and equal attention to both sides of the body are key to instinctive reaction.

A technique cannot be properly demonstrated or understood until it has been done ten thousand times on
the right and on the left.

Train in random application of right and left technique; and learn to leave the comfort zones of rank, order,
and perspective.

9. A BLOCK IS NOT A BLOCK, AND A PUNCH IS NOT A PUNCH

Blocks and strikes are enshrouding facades.

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Effective self-defense technique is often found between the postures.

10. A WEAPON IS NOT AN ENEMY

Reckon hands as swords and swords as hands.

A weapon is a lever, and the one wielding it is the fulcrum.

Sound martial arts principles can be applied to an unarmed or armed attacker; and different types of
weapons don't necessitate different types of self-defense.

11. BALANCE OF POWER AND FLUIDITY

Building a sound martial arts house involves the way of fist law and empty hand.

A superior martial art reflects a proper blending of hard art with soft art, a balance of power and fluidity,
acute coordination of rhythm and strength.

12. TRAIN IN PRACTICALITY, FORTITUDE, AND TEMPERANCE

Practical training is against real-world attacks and with practical technique that is amazing when done well
and viable when done poorly.

Dont train to inflict without training to be inflicted. Power and speed wane, but fortitude endures.

Above all, train wisely and with temperance, giving equal attention to strength, endurance,
and flexibility. Overtraining or unbalanced training rests in the bosom of fools and can do irreparable
damage to mind, body, and soul.

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Primary Basics
NUMBERS (JAPANESE / KOREAN)

1 = ichi / il
2 = ni / e
3 = san / som
4 = shi / sa
5 = go / o
6 = roku / yuk
7 = shichi / chil
8 = hachi /pal
9 = ku / gu
10 = ju / sip

VOCABULARY

aiki - static expression of ki, state of body/soul harmony

anza - sitting with crossed legs
aikido - way of harmony
atemi waza - strike or blow
ba shi - martial art, 8 basic stances
bo - long staff
bokken - wooden sword
budo - martial art
bujutsu - martial science
bunkai - disassembly for application
chang moo kwan - building martial arts house
cheonjikido - way of a heaven lakes vitality
chuan fa - way of the fist
chudan - middle target
dachi - stance
dan - degree
dojo - training hall
gedan - lower target
geri - kick
geup / kyu - rank
ghi - training uniform
goshin ho - self defense technique
hajime - command for begin
happo zanshin - 8-directional alertness
haragei - the art of itten, belly art
hiji waza - elbow technique
ippon kumite - one-step fighting
itten (hara) - physical center of body, approximately 3 inches below navel
jiujitsu - yielding art
jo - short staff
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jodan - upper target

judo - martial sport, way of gentleness
ka - practitioner
kamae - maintaining center line
karate - empty hand
kata - form, formal exercise
katana - Japanese sword
kendo - art of the blade
ki - life energy, vitality
kiai - dynamic expression of ki, exertion of body/soul harmony
kihon - basics
kimi - soulish or spiritual focus
kobudo - way of weapons
kohai - martial arts students
kokuro - heart, indomitable spirit
kokyu chikara - breath power
kumite - fighting, free sparring
kung fu - martial skill
kuzushi - disturbing balance
ma-ai - harmony of space, art of maintaining proper distance
mate - command for stop or wait
muchimi - adhesion, sticky hands
mudansha - holder of rank below black belt
mushin - state of no mind
musubi - art of blending
obi - belt
randori - uninterrupted mock combat
rei - bow
ryoku - technique, exertion
seiza - sitting posture (on knees)
sensei - teacher
senpai - senior student, student-teacher
shikko - knee walking
shin - concentrated focus
shiznetai - natural
shugyo - austere training
shuto - knife hand
sunbae - upperclassman
taekwondo - hand and foot technique
tai-sabaki - whole body movement, avoidance
tanto - knife
tan tui - spring steel legs
teashikido - way of hand and foot energy
tekubi waza - wrist technique
tori - one performing technique
tuite - taking hand, art of joint lock
uke - one performing attack or receiving technique, block
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ukemi - breakfall
uki waza - floating technique
unsui - cloud water
waza - technique
yame (ahh) - comand for stop or reset
yang - active principle of the material world
yin - passive principle of the material world
yudansha - holder of black belt rankil
zanshin - focused alert form
zuki - punch

KNEELING POSITION - seiza

1. Kneel on the floor with the legs folded underneath the thighs and the buttocks resting on the heels
2. The ankles are turned slightly outward, and the tops of the feet are flat on the floor, forming a slight
V" shape.
3. The right big toe should be touching or slightly overlapping the left big toe.
4. Keep the back straight while resting the hands, palms down, on the knees with fingers slightly spread
for uninterrupted flow of ki.

CONTEMPLATION POSITION - anza

1. Sit on the floor with legs crossed

2. Keep back straight and eyes closed; hands should rest on the knees with fingers spread for
uninterrupted flow of ki
3. Breath deeply (in through the nose and out through the mouth) from lower abdomen (itten)

STANDING BOW - ritsu rei

1. From attention stance (heiko dachi), bring left foot to right foot
2. Place palms flat to side of thighs, arms slightly bent
3. Bend at waist, looking straight ahead
4. Straighten body, hands making circular crossing motion to chamber position
5. Step with left foot back into attention stance (heiko dachi)
6. Fists extend naturally downward as in a double groin strike, exhale

KNEELING BOW - za rei

1. Start from kneeling position (seiza)

2. Place palms flat on the floor with opposing thumbs and index fingers touching (i.e. to form an empty
triangle space) slightly out and in front of knees
3. Bend from waist until upper body is parallel to floor, touch forehead to hands, exhale
4. Return to kneeling position (seiza)
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STANCES (15)

Everything in the art of Cheonjikido begins with stance and ensuing foot movement and proceeds from the
physical center of the body (itten). The following 15 stances appear in order of difficulty and importance; all are
to be PLANTED BUT NOT ROOTED.

*denotes one of kung fus (chuan fas) 8 Basic Stances

**stances derived from traditional karate kata

ATTENTION STANCE - heiko dachi

1. Place feet parallel and shoulder-width apart

2. Center fists in front of body, slightly below belt level at itten
3. Knees should be slightly bent with the back straight
4. Each leg should support 50% of the bodys weight

HALF-BODY STANCE - hanmi

1. Place front foot forward and angled slightly out with rear foot angled out at approximately 45-degrees
(a natural position)
2. The distance between the front and back foot is less than shoulder-depth with stability generated from
the center
3. Both hands are open and centered with front hand matching front foot, shoulders relaxed
4. Knees should be slightly bent with the back straight
5. Weight distribution is basically equal with perhaps a very slight concentration toward the rear leg
6. This stance looks non-threatening and offers ease of motion and dynamic stability
7. Ai-Hanmi is when the feet of uke/tori mirror each other
8. Gyaku-Hanmi is when the feet of uke/tori are in opposition or "same-side"
9. To rise into hanmi from seiza position, lift right knee and put right foot forward, rise up on the toes,
lower heels to floor without shifting weight; to return to seiza, lower left leg down, then right leg down
10. Right / Left determined by front foot

*HORSE STANCE - kiba dachi, qi ma shi

1. Place feet parallel and slightly wider than shoulder-width apart; toes should be turned slightly inward
2. Keep knees well bent and back straight; the height of this stance should be lower than ones comfort
zone, but rear end is to rest above the level of the knees
3. Hold fists in attention stance position
4. Each leg should support 50% of the bodys weight

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FRONT-FORWARD STANCE - zenkutsu dachi

1. Place feet shoulder-width and slightly wider than shoulder-depth apart; feet should be parallel,
pointing forward, and flat on the floor
2. Front knee should be bent so that toes of the front foot are not visible
3. Back leg should be straight without locking the knee
4. 50/50 weight distribution, body should not be leaning or turned
5. Stepping in Front Forward Stance: back foot slides past front foot in semi-circular motion,
becoming the front foot; body stays erect with back straight; center of gravity remains constant
without bouncing; stepping foot glides across the floor, maintaining contact
6. Right / Left determined by front foot

*BACK STANCE - kokutsu dachi, si liu shi

1. Place feet slightly wider than shoulder-depth apart, perpendicular to one another
2. Heel of front foot should be in line with heel of back foot
3. Knees should be well bent and aligned with feet
4. Thigh and hip of rear leg should be turned slightly outward
5. Body should face the same direction as the back foot
6. 60-70% of weight on back foot; 30-40% of weight on front foot
7. Transition in Back Stance: back leg pivots 90-degrees on the heel to become front leg; front foot
follows suit to become rear leg
8. Stepping in Back Stance: rear leg pivots 90-degrees on ball of foot, then slides straight through to
become front leg; front leg pivots 90-degree on the heel to become rear leg; shift weight
9. Right / Left determined by back foot
10. With a 50/50 weight distribution, this stance has been referred to as a T stance or L stance

SIDE STANCE - yoko dachi

1. Place feet parallel and slightly wider than shoulder-width apart; toes should be turned slightly inward
2. Keep knees well bent and back straight; the height of this stance should be lower than ones comfort
zone, but rear end is to rest above the level of the knees
3. Hold fists at approximately shoulder and solar plexus height over the leading foot
4. Right / Left determined by leading foot

**SOCHIN DACHI - planted stance

1. Place feet shoulder-width and slightly wider than shoulder-depth apart; feet should be parallel with the
front foot pointed inward at a 45-degree angle and the back foot pointed outward at a 45-degree
angle; feet flat on the floor

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2. Both knees should be bent and over the toes, exerting force outward with the center of gravity
positioned slightly toward the front leg
3. 50/50 weight distribution, body should not be leaning or turned
4. Stepping in So-chin Dachi Stance: back foot slides past front foot in semi-circular motion,
becoming the front foot; body stays erect with back straight; center of gravity remains constant
without bouncing; stepping foot glides across the floor, maintaining contact
5. Hand positioning: front hand performs a downward block while rear hand performs a rising block as
the feet slide into place
6. Right / Left determined by front foot
7. This stance, a cross between a front-forward stance and a straddle stance, is featured in Sochin, a
traditional Shotokan form that consists of solid and robust technique strong both in front and on the
sides.

*CAT STANCE - nekoashi dachi, xi shi

1. Rear leg turns 45-degrees to the outside and assumes nearly all of the bodys weight
2. Front leg, or empty leg, rests slightly on the toes, facing forward
3. Front leg rotated slightly in at the hip to cover the groin
4. This is a narrow stance which trains the student to maintain stability on one leg
5. Hand positioning: upper hand (opposite of empty leg) extends at nose level to slightly bent position;
lower hand reaches to below the elbow of the upper arm; both arms should be in line with the forward
knee and toe
6. Right / Left determined by planted rear leg

*LOW-LEG STRETCHING STANCE - pu tui shi

1. This stance is primarily a balance and stretching stance whereby the student slowly crouches on one
leg while the other leg slides the foot along the ground until the leg is completely straight
2. Both feet must remain absolutely flat upon the ground
3. Back remains straight without leaning forward
4. Hand positioning: when the right leg is crouched, the right hand is positioned above the head, palm
out; the left hand then is placed in front of the groin, palm down; when the left leg is crouched, the
hand positioning falls opposite
5. If this stance cannot be accomplished without the student leaning forward or being able to move the
stretched leg in and out smoothly as he transitions from or back to horse stance, or from one low
leg-stretching stance to another, the students legs are not strong or flexible enough
6. Right / Left determined by stretched leg
7. The stance appears in lines 3, 4, and 6 of Tan-Tui, a Kung Fu form (Northern Islamic Longfist style)
that is undoubtedly similar to the chuan fa forms that In Yoon Byung originally brought into Chang Moo
Kwan from his training in Manchuria.

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**HANGETSU DACHI - half-moon stance

1. Place feet shoulder-width and slightly wider than shoulder-depth apart; feet should be parallel with the
front foot pointed inward at a 45-degree angle and the back foot pointed outward at a 45-degree
angle; feet flat on the floor
2. Both knees are bent and drawn inward as if being pulled together toward the groin (i.e. as opposed to
the outward exertion of sochin dachi stance)
3. 50/50 weight distribution, back should be straight
4. Stepping in San-chin Dachi Stance: back foot slides past front foot in semi-circular motion,
becoming the front foot; body stays erect with back straight; center of gravity remains constant
without bouncing; stepping foot glides across the floor, maintaining contact
5. Right / Left determined by front foot
6. By tightening the sides of the upper body and constricting the anus while positioned in this half-
moon stance, it is possible for male practitioners to develop muscles that will retract the testicles into
the lower abdomen as a means of protection from a groin attack
7. Hangetsu-dachi is utilized in Hangetsu, a traditional Shotokan form known for its semi-circular half-
moon movement and advanced techniques

*CROSSED-FEET STANCE - kosa dachi, zuo pan shi

1. Rear leg steps behind stationary leg, locking the knee against the front calf for support
2. Rear leg rests on ball of foot at a 45-degree angle toward the stationary foot
3. Knees well bent, with rear leg acting as a rudder to determine angle
4. Hands assume on-guard position while upper-body can shift within 90-degrees of front foot
5. This stance allows one to quickly change position without weakening defensive posture by shifting the
stationary leg
6. Right / Left determined by front foot

*CRANE STANCE - du li shi

1. The crane stance promotes balance and stability

2. Pivot at the waist 45-degrees to the inside of the supporting leg
3. Supporting leg is slightly bent, acting as a shock absorber (i.e. as opposed to a rigid and off-balance
straight leg)
4. Empty leg comes up to protect the groin with the respective foot covering the knee of the
supporting leg
5. Hand positioning: when the right leg is supporting, the right hand reaches over the empty leg to cover
the exposed ribs, palm down; the left hand (same side as empty leg) is the positioned as a rising
block, palm up

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6. Right / Left determined by supporting leg

*BOW & ARROW STANCE - gong jian shi

1. This stance is formed from a horse stance as the leg that is to become the front leg pivots
OUTWARD ON THE HEEL OF THE FOOT while the leg that is to become the rear leg pivots
INWARD ON THE BALL OF THE FOOT
2. Feet are slightly angled so that if a line were drawn laterally between the legs, it would touch the toes
of the front foot and the heel of the rear foot
3. 60-70% of the weight is on the front leg
4. If pivot is executed correctly from horse stance, the student should have a good base; incorrect
pivoting the stance may become too narrow, lacking balance and stability
5. When transitioning back to horse stance from the bow & arrow position, the student must use the
same pivot points; correcting pivoting motion will result in a correct horse stance
6. Hand positioning: when the right leg is forward, the left hand is extended forward at nose level and in
line with the forward knee and toes; the right hand is approximately two palm spans above the head;
when the left leg is forward, the hand positioning falls opposite
7. Right / Left determined by front foot
8. Repetitious shifting with correct pivot points between a horse stance and a bow and arrow stance is
an effective means of teaching opposite sides of the body to respond simultaneously and with
disparate movement

*70-30 STANCE - san qi shi

1. This stance, though similar to a back stance, involves more of an extreme twist in the waist and both
feet are less than perpendicular, in more of a natural position; spacing less than shoulder-depth
2. 70/30 weight distribution
3. Thigh and hip turned of rear leg are turned slightly inward
4. Pivot at the waist 45-degrees toward the outside of the front leg
5. Hand positioning: the forward arm (same side as rear leg) is extended and slightly bent at nose level,
palm up; the rear hand (same side as forward leg) is pulled back behind the eye, palm facing out
6. Right / Left determined by back foot

**SANCHIN DACHI - hourglass stance / dynamic tension stance

1. This stance is formed by placing the heels together to form a V-shape; from this position, pivot on the
balls of the feet, pushing the heels outward to form inward-facing 45-degree angles; maintaining this
angle, one foot the takes a half-step forward
2. Both knees are bent and exerting force inward, back is straight, 50/50 weight distribution
3. From the outside heels, the feet should only be shoulder-width apart

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4. Stepping in San-chin Dachi Stance: back foot slides past front foot in semi-circular motion,
becoming the front foot; body stays erect with back straight; center of gravity remains constant
without bouncing; stepping foot glides across the floor, maintaining contact
5. Right / Left determined by front foot
6. This tight isometric stance is featured in Sanchin, a traditional Isshin-ryu form that is designed to
develop ki and strengthen the bodys ability to to absorb attack
7. The V-shaped chamber position of this stance is utilized at the beginning and ending of Cheonjikidos
Sam-Geup Kata (Tekki-Sho) and is termed V-Stance

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blocking technique (7)

RISING BLOCK - age uke

1. Bring blocking fist across the body at belt level, palm facing abdomen
2. Bring reaction-force or chamber fist across the body at shoulder level, palm facing shoulder
3. Raise blocking arm straight up, keeping palm-facing chest
4. At approximately eye level, snap blocking fist out, pull reaction-force fist to chamber position
5. Blocking arm stops in front of and slightly above the head at a 45-degree angle (natural position)
6. Transition to opposite rising block: chamber moves across body at belt level, palm facing abdomen;
blocking hand drops to position across chest, palm facing shoulder

OUTSIDE BLOCK - soto uke

1. Bring blocking fist across the body at belt level, palm facing abdomen
2. Bring reaction-force or chamber fist across the body at shoulder level, palm facing shoulder
3. Snap blocking arm outward, stopping with fist level with top of shoulder, there should be a 3/4 twist
(i.e. natural position) in arm with the palm facing opposite shoulder
4. Snap reaction-force fist to chamber position
5. Transition to opposite outside block: chamber moves across body at belt level, palm facing abdomen;
blocking hand drops to position across chest with elbow as a hinge, palm facing shoulder

INSIDE BLOCK - uchi uke

1. Raise blocking fist to ear, palm facing outward

2. Bring reaction-force fist or chamber across the body, palm facing abdomen
3. Snap blocking arm inward, stopping with fist at shoulder-level in front of opposite shoulder, palm
facing opposite shoulder at 45-degree angle (i.e. natural position)
4. Snap reaction-force fist to chamber position
5. Transition to opposite inside block: bring chamber to ear, palm facing outward; blocking arm drops to
belt level using elbow as hinge, palm facing inward

DOWNWARD BLOCK - gedan barai

1. Bring blocking fist to the opposite ear, palm facing inward

2. Bring reaction-force fist across the body at belt level, palm-facing abdomen
3. Snap blocking fist down to the front knee, simultaneously pull reaction-force fist to chamber position
4. Blocking fist should stop approximately 4 inches above knee at a 45-degree angle (natural position)
5. Body should stay erect, keep back straight

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6. Transition to opposite downward block: chamber moves to opposite ear, palm inward; blocking arm
moves from knee to position across body at belt level, palm inward

KNIFE BLOCK - tanto uke

1. Blocking arm retains an unbendable arm position (i.e. slightly bent) at the side of the body with the
open palm rear-facing at approximately hip level
2. Chamber hand moves to opposite shoulder with palm facing out to protect the face
3. With this block, depending upon the type and level of attack, the chamber hand can move up and
down the unbendable blocking arm and/or the blocking arm can extend outward and away from the
body
4. The slightly bent position of the blocking arm is extremely important, providing strength and shock
absorption
5. This block is primarily used to defend against a knife, hence termed knife block; but it is also
effective against a variety of armed or unarmed attacks

CROSS BLOCK - juji uke

1. Snap both fists into an "X" position, palms facing outward

2. Arms stop in front of and slightly above head (should be able to see out from under block)
3. Snap arms back to guard position

SHUTO BLOCK - shuto uke

1. Blocking arm comes to opposite ear (i.e. similar to downward block chamber), hand is open with palm
facing ear and fingers slightly bent
2. Reaction force arm extends out and down, slightly bent with palm facing out
3. Snap blocking arm outward at chest level to an unbendable arm (i.e. slightly bent) position;
simultaneously, open palm should twist and snap outward to an angled position whereby if contact is
made, it involves the blade of the blocking hand
4. Pull reaction force arm inward to a chamber position just off the chest at solar-plexus level;
outward- facing palm should twist inward to an upward-facing position; chamber should not be
touching the body
5. When transitioning between right and left knife-hand blocks, chamber moves to opposite ear while
blocking arm naturally extends out and down before snapping back to chamber
6. Hands remain open in this block with fingers together and slightly bent and thumb straight; positioning
should be firm, yet relaxed, with little to no tension
7. This block, after the Chang Moo Kwan tradition, can also be performed with an open chamber.

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Striking technique (10)

For purposes of training, all strikes utilize a chamber position; the reaction-force hand is in chamber position
when the fist is resting at the side palm just above the hip, palm facing upward.

PUNCH - zuki

1. Form the fist with fingers tucked in and thumb on top of the fist (not bent over knuckles)
2. Fist moves from chamber position in straight line
3. Wrist snaps over to 3/4 position (natural position in which bones in the arm are not crossed and
therefore weakened) during the last 2 - 6 inches of punch, sinking into the target
4. Arm should be straight without locking the elbow
5. Striking surface is the first two knuckles
6. Opposite fist moves simultaneously from it's previous position to the chamber position as a
reaction force
7. Keep back straight with shoulders square to center
8. Body relaxes during the travel of the punch, tenses at the moment of impact, and then relaxes at the
end of the punch
9. Exhale audibly, tightening the abdominal muscles

REVERSE PUNCH - gyaku zuki

1. Step into front-forward stance with fist in chamber position on the same side as the supporting foot
2. Release punch as stepping foot passes supporting foot
3. Punch stops as the stepping foot stops
4. Punching fist and reaction-force fist move simultaneously (at end of the step)

BACK-FIST STRIKE - uraken uchi

1. Cross striking arm and reaction-force arm in front of the body, palms facing inward toward the body
(similar to rising block chamber position)
2. Snap striking fist into target, striking with back of first two knuckles
3. Snap reaction-force fist to chamber position

PALM-HEEL STRIKE - shotei uchi

1. Striking hand moves from chamber position to the target, angled slightly upward
2. Striking hand should be open and slightly cupped with fingers straight but not locked; strike with the
heel of the palm

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3. Arm is straight, but elbow is not locked

4. Snap reaction-force fist to chamber position

HAMMER-FIST STRIKE - kentsui uchi

1. With this strike, the fist swings and sinks like a hammer
2. Utilizing a downward motion, the bottom of the fist acts as the striking surface
3. Utilizing an upward motion, the top of the fist acts as the striking surface
4. Utilizing an inward or side-swinging motion, the top or bottom of the fists acts as the striking surface
dependent upon the direction of travel

SPEAR-HAND STRIKE - yonhon nukite uchi

1. This striking technique chambers, snaps, and travels like a punch

2. Like a ridge hand, however: the fingers should be straight but not locked; pinky finger should angle
slightly under the ring finger; thumb should be straight or slightly bent while lining up just under the
index finger
3. Striking surface involves the tips of the four fingers as they sink straight inward and are reinforced by
the thumb and an unbendable arm

SHUTO STRIKE - shuto uchi

1. Striking hand moves from chamber with snapping outside wrist rotation to a palm-up position with the
blade of the hand (i.e. striking surface) angled slightly downward
2. Fingers should be straight but not locked; pinky finger should angle slightly under the ring finger;
thumb should be straight or slightly bent while lining up just under the index finger
3. Striking surface is the blade of the hand
4. Technique should snap and sink slightly downward into the target with an unbendable arm

RIDGE HAND - gyaju shuto uchi

1. Striking hand moves from chamber with snapping inside wrist rotation to a palm-down position with
thumb-side (i.e. striking surface) angled slightly downward
2. Fingers should be straight but not locked; pinky finger should angle slightly under the ring finger;
thumb should be straight or slightly bent while lining up just under the index finger
3. Striking surface should include the outside of the index finger and the top or knuckle of the thumb
4. Technique should snap and sink slightly downward into the target with an unbendable ar

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PHOENIX FIST - hooken zuki

1. Form the phoenix-fist with the knuckle of the middle finger protruding and the thumb covering the
index and middle fingers
2. Striking surface is the protruding knuckle of the middle finger
3. Technique should snap and rotate slightly into the target with an unbendable arm

OX-JAW STRIKE - seiryuto

1. Ox-jaw hand is formed by a downward bend of the wrist with fingers/thumb hanging loosely downward
and touching at the tips (shape of the hand then resembles an ox jawbone); this is a relaxed gravity-
friendly position
2. Typically, the ox-jaw strike travels at an upward angle from chamber and sinks into the opponent with
the top of the hand as the striking surface
3. However, an ox-jaw strike can angle downward and involve the knuckles as part of the striking
surface; it can also rotate outward, thus striking with a snapping motion of the fingers and thumb
4. Any ox-jaw strike should terminate with a slightly bent arm

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kicking technique (9)

HIP KICK - name gaeshi

1. With the hip, lift the kicking foot across the body at a 45-degree angle from the floor
2. Kick should sink into the target at an angle with the sole of the foot and then return with the motion of
an ocean wave; the strength of the strike is in the hip
3. This is a low kick that typically targets the knee or vulnerable points on the inner gate of the opponent

FRONT KICK - mae geri

1. Lift the kicking leg, pointing toes toward floor and pulling knee toward chest (chamber position)
2. Snap kicking leg and point foot forward toward target, curling toes backward (snap kick) or turning foot
back toward knee (thrust kick)
3. Impact should be with the ball of the foot (snap kick) or heel (thrust kick)
4. Keep upper body erect
5. Bring kicking foot back to chamber position (toes pointed toward floor and knee pulled toward chest)
6. Return kicking foot to floor

SIDE KICK - yoko geri

1. Lift the kicking foot parallel to the floor as high as the knee of the supporting leg
2. Angle kicking foot toward knee and open hip
3. Snap or thrust kicking foot from the hip, striking the target with the heel
4. At impact, body should be turned perpendicular to target with upper body leaning slightly
away from opponent to maintain balance, supporting foot should pivot toward the rear (perpendicular
to body) as the kick extends out
5. At full extension, the heel should be higher than the toes of the kicking foot.
6. Supporting foot should return to position parallel with body, kicking foot returns to
chamber position (foot parallel to floor at as high as knee of supporting leg)
7. Return kicking foot to floor

ROUNDHOUSE KICK - mawashi geri

1. Lift kicking foot and point knee toward target to open up the hip
2. Snap kicking foot into the target with hip, striking with either the ball or top of the foot at a slight
downward angle
3. At impact, body should be turned perpendicular to target with upper body leaning slightly away to
maintain balance, supporting foot should turn toward the rear (perpendicular to body)

4. Supporting foot should return to position parallel with body, kicking foot returns to

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chamber position (i.e. knee pointed toward target)

5. Return kicking foot to floor

INSIDE CRESCENT KICK - mikazuki geri uchigawa

1. Assume front snap kick chamber position

2. Angle foot inward and with whipping motion (i.e. utilizing the hip), kick along a small inside arc
(clockwise for left leg, counter-clockwise for right leg), striking through target with the sole of the foot
3. After striking through target, kick should continue along the same inside arc and return to front snap
kick chamber position
4. Return kicking foot to floor

OUTSIDE CRESCENT KICK - mikazuki geri soto

1. Assume front snap kick chamber position

2. Angle foot inward and with whipping motion (i.e. utilizing the hip), kick along a small outside arc
(counter-clockwise for left leg, clockwise for right leg), striking through target with the blade or top
outside of the foot
3. After striking through target, kick should continue along the same outside arc and return to front snap
kick chamber position
4. Return kicking foot to floor

BACK KICK - ushiro geri

1. Lift kicking foot with toes pointed toward the floor and heel only as high as the knee of the supporting
leg (lower chamber position than front snap kick)
2. Look at target over the shoulder on the same side as the kicking leg
3. Leaning slightly forward to maintain balance, thrust kicking leg into target, striking with the heel
(toes should stay pointed toward the floor)
4. Bring kicking foot back to low chamber position and then return to floor

HATCHET KICK - kakato geri

1. Assume front snap kick chamber position

2. Begin performing a crescent kick (with an inside or outside whipping motion), stopping at the top of
the arc
3. Drop the kicking foot suddenly, striking through the target from above with the heel
4. Kick should descend like the blade of an axe and continue to the floor

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HOOK KICK - kagi geri

1. Assume side kick chamber position

2. Open hip and thrust kicking foot outward like a side kick, but intentionally aim slightly off-target in the
direction of the kicking foots toes
3. At full extension, bend the knee and snap foot back toward target, striking through with the heel
4. Kicking foot should return to side kick chamber position and then to floor

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ki exercises

Ki is derived from a Chinese character that depicts steam rising from rice as it cooks. It literally translates
breath, air, or gas, and is understood in Chinese medicine and martial arts to refer to the life force that all
living thing possess. Another way to define this abstraction is vitality. There is nothing mystical or religious
about this: if you are alive, you have ki; and if you are healthy, you have just as much ki as any martial arts
master. This vitality, or life energy is bestowed by the Omnipotent Creator of all things, and in a sense, at least
as far as mankind is concerned, ki is what is referenced in Genesis 2:7:

And the LORD God formed man of the dust of the ground, and breathed into his nostrils the breath of life; and
man became a living soul.

Unfortunately, ki is the one aspect of martial arts philosophy that has been most romanticized, most
misconstrued, and most abused. Some self-professed masters claim that ki gives them super-human
strength while others boast ki as some sort of commodity that can be created, moved about, and sent out. Ki
has also been described as a sixth sense that can be developed or as something to make one heavy as lead
or light as air. And, the list of claims goes on and on, much of it belonging in a carnival side-show or sourced in
witchcraft and the demonic.

As mentioned, ki does exist, and since all human beings have physical bodies undergirded by living souls,
possessing this ki or vitality isnt really the relevant issue for the martial artist, aside from the need to stay
healthy and strong. Rather, what is important in martial arts training is the awareness of ones ki coupled with
its honing (i.e. as a blade sharpened on a whetstone) and exertion or application through the physical medium
of the body. Its the honed awareness and focused application of ki to static and dynamic technique which can
equip an adept martial artist with esoteric abilities that make him formidable in combat or able to preemptively
diffuse a hostile situation before punches are even thrown. And yes, some of these abilities may or may not be
easily or fully explained by the physical sciences, as is the case with great feats known to have been
performed by normal people in moments of adrenaline-laced crisis.

Forrest E. Morgan, on page 103 of his excellent text Living the Martial Way (Fort Lee, NJ: Barricade Books,
1992), writes:

Unfortunately, most modern [martial arts] instructors dont understand these talents, much less use them. As a
result, they invent the nonsense we see offered the public today. Even the few who really have the skills [i.e.
to hone or apply ki]--those legitimate teachers of the classical martial arts--rarely comprehend their own
capabilities well enough to pass them on to others. Instead, they continue the time-honored tradition of
repetitive physical drill, year after year, until some small percentage of students intuitively grasp and apply the
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58

skills of their forebears. Most students never catch on . . . Dont misunderstand me; Im not criticizing the
repetitive nature of traditional martial training. That process lays the essential foundation for properly learning
any martial art, and Im a true believer in the traditional way. But, there are better approaches to teach the
esoteric skills [honing and application of ki] than simply waiting for students to figure them out for themselves.

This journey begins with understanding the principles of aiki (i.e. the static expression of ki) and kiai (i.e. the
dynamic expression of ki). Both of these terms are Japanese in origin and describe abilities used at higher
levels in most traditional martial arts. Each term is a combination of ki (i.e. life energy or soul/spirit) with ai (i.e.
harmony, blending, or existing in concentration), and interestingly, each is an anagram of the other. There is
no fundamental difference between aiki and kiai, though the connotations slightly contrast. Aiki refers more to
an undistracted state in which ones ki (living soul) and its attributes, some to a greater or lesser extent, are
brought into harmony with the motions or actions of ones own physical body. Such coordinated focus in martial
arts inevitably then incorporates blending with and dominating the physical motions of an attacking opponent.
For this reason, the traditional style of Aikido concentrates upon physically blending with an opponents attack
and then using his energy, leverage, or momentum to upset his balance and thereby dominate the situation.
The connotation of kiai, on the other hand, has more to do with the dynamic expression of aiki or the harmony/
coordinated focus of body and soul. In terms of kata, the use of the kiai or spirit shout is supposed to be a
tool for learning to dynamically exert aiki, but sadly, like so much modern martial arts training, physical
trappings have been confused with and substituted for internal function. Aiki can actually be exerted without
shouting or even moving, and learning to maintain aiki and exert kiai are foundational to putting away
weakening distraction and honing and applying ones very soul or ki in a conflict situation. Around the turn of
the 20th century, a Daito Ryu Aikijujutsu headmaster rightfully acknowledged that proper development of this
skill can lead to defeating your opponent with a single glance. Much more could be said, and more careful
consideration should be given to these matters.

An interesting study would involve the relationship of ki to the electromagnetic fields generated by the human
body (an amazing aspect of the Creators intelligent design). Is ki linked to ones magnetic field, and can this
field be harnessed or utilized like an arm, a leg, or the brain? Does aiki or kiai somehow bridge to the physical
in the electromagnetic field of the human body?

Another interesting study would involve the triune nature of man (body, soul, and spirit) as revealed in the Bible
(I Thessalonians 5:23, Hebrews 4:12), the aspect of man that reflects the triune image of God (Genesis
1:26-27), and how ki (life energy), aiki (harmony of body and soul), and kiai (concentrated focus of body/soul
harmony) are best understood and applied in this framework. How do the bodys five senses or gates (sight,
smell, hearing, taste, and touch) and the souls five primary attributes or channels (imagination, conscience,
memory, reason, and affections) affect ki and its application? Is perfect harmony of the five senses and the five
attributes of the soul even possible? Or, is the honing and application of ki more about the coinciding absence
of distraction or roadblocks in these gates and channels? Where does the spirit of man, its five faculties (i.e.
faith, hope, reverence, prayer, and worship), and the absolute truth of I Corinthians 2:14-15 fit into the study
and application of ki? Finally, what are the implications or ramifications concerning ki when one considers and

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compares the unregenerate spirit of man born in sin and abiding in darkness as the human will stands guard at
the door between the soul and the spirit versus the regenerate spirit of man, born again in Christ Jesus, the
human will having been surrendered to the indwelling Holy Spirit? Can these disparate states ultimately point
toward diametrically opposing consequences in terms of aiki and kiai? Careful consideration should be given
to these questions, particularly when it comes to martial arts practitioners who operate within the moral
framework a biblical worldview or their Christian faith.

So, ki is real, and its not religious; it can be honed; and it can be applied in martial arts. True aiki and kiai
actually take years to properly develop (though complete or perfect maturation is doubtful in mans fallen and
finite state), and there is no exact formula for success in this endeavor. Forrest Morgan, in the above
referenced work, argues that the following tangible guidelines, however, will begin your internal development
and take the hit-or-miss guesswork out of this part of your warrior training (Morgan, 107):

1. Find heart
2. Practice everything from the center of the body (i.e. the lower abdomen)
3. Utilize the proper art of breathing to apply physical strength most effectively
4. Learn to focus your whole being toward a single objective
5. Practice kata with utmost seriousness

Below, in addition, are some preliminary exercises than can help with concentrated focus and, thereby, the
honing and application of Ki:

KI BREATHING

1. Stand with feet shoulder-width apart

2. Slowly bring the arms up in a circular motion to cross above the head with a deep inhale
3. During exhale, slowly drop the arms down in a circular motion to cross in front of the abdomen
4. While repeating this motion, maintain a state of complete relaxation, and focus on the itten (the
physical center of the body that lies about 2-3 inches below the navel)
5. Imagine a ball of energy in the itten; visualize pulling from this energy ball as the arms go up and
pushing into this energy ball as the arms drop down

FISH SWIMMING UP THE STREAM

1. Pointing with the index finger and the middle finger of one hand, imagine leading a swimming fish into
the middle finger of outstretched opposite hand.
2. Mentally, lead the swimming fish through the middle finger, into the center of the palm, and down to
the wrist
3. Once arriving at the wrist, reverse the fishs direction and lead it back out the middle finger of the
outstretched hand with the pointed index and middle fingers of the opposite hand

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4. Next, imagine leading two fish with the index and middle fingers of the opposite hand into the index
and ring finger of the outstretched hand. Follow the same course (u-turn at wrist) as steps 2 and 3
5. Repeat steps one through four as many times as possible; imagine fish swimming very slowly
6. Concentrate, and soon you will feel a tingling sensation along the pathway of the imaginary fish; this is
the result of increased Ki awareness
7. It is easier to sense Ki in this exercise while in a bathtub or shower.

FINGER TIPS

1. Point the fingertips of each hand toward each other about an inch apart
2. Shift one hand down about an inch while shifting the opposite hand up about an inch
3. Reverse the movement and repeat
4. Soon, you will notice a tingling sensation in the fingertips; this is the flow of Ki

PALM BALL

1. Hold hands, palms facing each other, about 8 inches apart

2. Push palms toward each other, squeezing the air between
3. Pull palms apart, stretching the air between
4. Push the palms together again, this time bringing them much closer
5. Repeats steps 2-4 multiple times until you start to feel a tingling sensation between the palms
6. Now, imagine the tingling sensation between the palms to be a ball or balloon that contracts and
expands with the movement of the hands
7. The tingling sensation, or the flow of Ki, should grow

SENSING KI

1. Hold out the palm of one hand while pointing toward it from about 12 inches away with the index
finger of the opposite hand
2. Move the pointing index finger in a small circular motion until you sense this movement in the open
palm of the other hand
3. Now, have a partner place an object such as a book or newspaper between your hands and continue
the exercise, trying to sense the movement through the object

FIRE WALKING

1. Hold hands, palms facing each other, about 8 inches apart and out in front of the lower abdomen
2. Visualize a ball of fire between the palms of the hands
3. C-step into alternating front-forward stances while moving across the floor
4. Pull the ball of fire toward the opposite hip as the back foot comes to center and steps through

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5. Push the ball of fire out in front of the abdomen as the moving foot sets down into the front position of
the front-forward stance
6. Repeat steps 3-5 with a relaxed flowing motion; as the Ki flows, the hands should begin to grow warm

UNBREAKABLE CIRCLE

1. Tori should make a circle with the thumb and index or middle finger
2. The uke should then grasp toris thumb and finger in separate hands
3. If the tori tenses his muscles, the fingers can be pulled apart easily
4. Tori should keep relaxed pressure between the thumb and finger, visualizing a circle of iron
5. Uke should try to pry the toris thumb and finger apart slow and steadily, trying not to break the toris
concentration

UNBENDABLE ARM

1. Tori should extend both arms out straight with one hand wrapped around the opposite fist
2. Uke should try to bend toris arms at the elbow while tori uses muscle strength to resist
3. Now, the tori should keep the arms straight with relaxed pressure, hands open and fingers spread
4. Tori should concentrate on allowing Ki to flow out of his body through the arms and forefingers
while imagining water flowing through a fire hose
5. Uke should use slow and steady pressure to bend the arms while trying not to break the toris
concentration

SHOWERING WITH KI

1. Inhale slowly and imagine that you are bringing a bucket of warm water above your head
2. Bring hands above head
3. Visualize pouring the warm water into your body through the top of your head
4. Exhale slowly and imagine that the warm water runs throughout your body, washing down everything
inside and reaching every corner
5. From the top of the head, slowly move the hands down to push the water
6. As the hands reach below the groin, visualize the water flowing out the soles of the feet like gushing
springs
7. The entire action should take approximately one minute
8. Repeat several times

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influential martial arts styles

China

CHUAN FA

Chuan Fa is a general term for Chinese martial arts that literally translates fist principles or law of the
fist (This word is translated kenpo in Japanese). As a style, Chuan Fa is considered to be the first eclectic
martial art with roots possibly stretching as far back as the 5th century BC during the Zhou Dynasty. In the
Spring and Autumn Annals, the earliest surviving Chinese historical text to be arranged on annalistic principles
(covering the period from 722 to 481 BC), reference is made to a hand-to-hand combat theory which includes
the notion of integrating hard and soft technique (true martial arts eclecticism). Chuan Fa is the forerunner of
Okinawan Karate, as the Chinese eclectic arts eventually migrated to the island via the old maritime trade
routes. In modern times, detailed knowledge concerning the state and development of Chinese martial arts
became available around 1928 as a result of an effort to compile an encyclopedic survey of martial arts
schools. Since the 1950s the Communist Peoples Republic of China has officially organized these arts as an
exhibition and full-contact sport under the heading of Wu Shu (a Chinese term that literally translates martial
arts or military arts). In Yoon Byung (1920-1983?), the first personage in the Cheonjikido black belt lineage,
studied Chinese Chuan Fa under a Mongolian grandmaster in Manchuria sometime prior to 1940. As Chuan
Fa in its earliest reference and in the training received by Sensei Byung represented a balanced blending of
hard and soft technique, so is the goal and eclectic spirit of Cheonjikido.

KUNG FU

Kung Fu is a Chinese term that literally refers to any study, learning, or practice that requires patience, energy,
and time to complete. In the West, this term evolved as a general reference to Chinese martial arts, but it
wasnt until the late 20th Century that it became accepted in this sense by the Chinese community. There are
two main divisions of Chinese Kung Fu: the Northern styles are known for more soft, circular movements with
emphasis on footwork while the Southern styles are characterized by strong and powerful technique with an
emphasis on the upper body. Notwithstanding, most kung fu styles contain both hard and soft elements, and
are therefore eclectic by nature. Cheonjikido incorporates the ba shi (i.e. the 8 basic stances) of the Northern
styles; and Tan Tui, a kata from the Northern Islamic Longfist tradition, is required for the rank of Sandan.

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63

Japan

AIKIDO

Aikido means the way of harmony and is a Japanese martial art developed by Morihei Ueshiba (1883-1969)
in the 1920s and 1930s as a result of his study in Daito-ryu Aiki-jujutsu. Ueshiba's goal was to create an art
that weaker practitioners could use to defend themselves while also protecting their attacker from severe injury.
Aikido is performed by blending with the motion of the attacker and redirecting the force of the attack rather
than opposing it head-on. This requires very little physical strength, as practitioners can actually lead an
attacker's momentum using entering and turning movements. Thus, weaker defenders can achieve victory
against stronger opponents. Aikido techniques are completed with various throws or joint locks, and its many
contributions to Cheonjikido include emphases upon redirection of force, displacement of balance, circular
motion, grappling technique, and the application of ki. Such attributes manifest themselves in our foot
movement, ippon kumite, kata bunkai, weapons defense (knife & gun ippon kumite), self-defense technique,
and our jo kata.

KARATE

Karate is a Japanese homophone that literally translates empty hand and in English, it has become a generic
term that refers to various Okinawan and Japanese striking arts. Originally, karate was developed in Japans
Ryuku Islands, mainly in what is now Okinawa, as a blend of indigenous styling with various aspects of
Chinese Kenpo (i.e. chuan fa). The latter began to be imported into the Ryuku Kingdom from the Chinese
mainland as early as the 15th Century. Anko Itosu (1831-1915) is considered to be the father of modern
karate, introducing it to Okinawan schools as early as 1901. It was not until the 1920s that karate was
systematically taught on the Japanese mainland. Gichin Funakoshi (1868-1957), a student of Itosu and
founder of Shotokan Karate, is generally credited with having introduced and popularized karate on the main
islands of Japan. Today, there are various styles of karate, and as mentioned, this term has become a
reference to a whole slough of striking arts. Typically, karate styles put an emphasis upon hard striking
(punching, kicking, open-hand technique, knee & elbow striking, etc.), but karate is not just punches and
kicks. It also necessarily involves tuite (joint-locks), grappling, throws, and pressure point technique. All of
these aspects of karate are found in Cheonjikido kata, ippon kumite, and self-defense technique.

SHOTOKAN

Shotokan is Japanese for Shotos house and represents the style founded and established by the Okinawan
Gichin Funakoshi (1868-1957) on the Japanese mainland between 1922 and 1936. Interestingly,
Funakoshis pen name was Shoto which translates pine waves (i.e. the movement of pine needles as the
wind blows through them), and in Shotokan, after years of study in Okinawan Shuri-te and Naha-te traditions,
he introduced a simplified and eclectic system that combined elements and principles of both. Okinawa, by the
way, is known for its beautiful and unique pine trees. Funakoshis first official Shotokan dojo was built in Tokyo

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64

in 1936, and in honor of their sensei, his students hung a sign over the entrance that read Shotokan.
Funakoshi himself never personally referred to his system by that name; he simply called it karate, or karate-do
(i.e. the way of the empty hand). As early as 1924, Funakoshi introduced the kyu/dan ranking system, colored
belts, and the ghi into his karate teaching, all adopted from the art of Judo founded by Jigoro Kano
(1860-1938) in Japan in 1882. In his lifetime, the highest rank that Funakoshi ever awarded was a Godan, 5th-
degree black belt. The three primary features of Shotokan training are kihon, kata, and kumite. Initially,
beginners and colored belts are taught strong basic techniques and stances with quick linear-movement,
thereby giving rise to the notion that Shotokan is a hard art of punching and kicking. However, these aspects
were only intended to be a means in the natural evolution of strength and power toward balanced fluidity. This
evolution is clearly seen in Shotokan black-belt kata; and with higher ranks, the focus shifts to fluidity in basics
and incorporates grappling, tuite, and aikido-like technique. Shotokan kumite also mirrors this evolution as the
basic stances and movements taught to beginners give way to a less-structured emphasis on fluid speed and
efficiency in the application of strong basics. This Shotokan ideal undergirds Cheonjikidos Core Principle #2;
and the heavy influence of Funakoshis eclectic system is obvious in Cheonjikido kata, ippon kumite, self-
defense technique.

SHUDOKAN

Shudokan literally means house for the cultivation of the way [of karate] and represents a style of Japanese
karate founded by Kanken Toyama (1888-1966). Toyama primarily studied the Shuri-te karate tradition under
Anko Itosu for eighteen years and was appointed the title of shihandai (i.e. assistant master) to Itosu in 1907
at the Okinawa Teachers College. Toyama and Gichin Funakoshi were the only two students to ever be
granted the title of shihanshi (i.e. protege) by Itosu, and some believe that Toyama outranked Funakoshi
because there is no record of the latter ever bearing the title shihandai. Beyond this, Toyama also received
supplemental instruction from Kanryo Higaonna (1853-1915), the founder of the Naha-te karate tradition.
Later, around 1924, Toyama moved his family to Taiwan, and there, he studied Chinese Chuan Fa for seven
years. In 1930, he relocated to Tokyo and opened his first dojo, calling it Shudokan. There, he simply taught
an eclectic blend of what he had learned from Itosu, Higaonna, and Chuan Fa. Toyama never claimed to have
originated a new style of karate and like Funakoshi, he never referred to his system by the name of his dojo. In
the early 1940s, In Yoon Byung (1920-1983?), the founder of Chang Moo Kwan and the original black belt in
Cheonjikidos direct lineage of instruction, studied under Toyama at Nihon University in Tokyo. Byung, with a
background in Chinese Chuan Fa, traded knowledge with Toyama and later attained the rank of Yondan under
him. Toyama was a Godan at the time, so this made Byung the highest ranking student at the Nihon Karate
Club. Shudokan, an eclectic balance of hard and soft technique, is characterized by circular motion, the art of
covering and deflection, a proper balance between power and fluidity, and unique kata. The art of Cheonjikido
acknowledges and teaches the value of these attributes; and as our style also strives to maintain an eclectic
balance of hard and soft technique, Toyamas influence via In Yoon Byung and Chang Moo Kwan is obvious.

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TOMIKI AIKIDO

Tomiki, also called Shodokan, is one of the earliest independent styles to emerge from traditional aikido as
taught by Morihei Ueshiba. It was systemized by Kenji Tomiki (1900-1979) who built a dojo in Osaka in 1967
to teach, train, and promote his style. As a result of the religious mysticism that negatively affected the
practical effectiveness of Ueshibas teaching in his latter years, Tomiki renewed an emphasis on Aikidos Aiki-
Jujutsu foundation while introducing elements from his extensive background in Judo. Tomiki Aikido differs
from traditional aikido in its greater stress on combative atemi (i.e. blows or strikes), compact motion (i.e. as
opposed to the drawn-out movements of the Hombu styles), and free-form randori (often practiced in formal
competition). Tomiki is also credited with arranging aikido technique into numbered sets, or two-man kata.
These kata were designed to promote development in both randori and aikido technique. Tomiki Aikido was
first brought to the United States by Jack Mumpower, a student of Kenji Tomiki who began teaching in North
Carolina in the 1960's. Larry Beal (1944-2010), Sensei Jesse Boyds instructor, was one of Jack Mumpower's
students who intensively studied this art and later taught at the Newton Aikido Club from 1994-2010. The art of
Cheonjikido is heavily influenced by the natural and compact circular motion of Tomiki Aikido and Cheonjikido
Ippon Kumite pay direct homage to this tradition. This set of 100 includes the Aikido Basic 15, Randori-No-Kata
(the 17 Advanced), the 11 Dynamic Throws, and the 10 Counters. Moreover, elements of Tanto Waza from
Koryu-Dai-San and Koryu-dai-Roku are clearly recognizable in Cheonjikidos set of 20 Knife Ippon Kumite.
Koryu-Dai-Ichi and Koryu-Dai-Ni are required learning for the rank of Nidan while Koryu-Dai-San and Goshin-
Ho must be learned for the rank of Sandan.

Korea
CHANG MOO KWAN

Chang Moo Kwan is a Korean coinage that literally translates building a martial arts house and was used to
describe an eclectic martial arts style developed and taught by In Yoon Byung (1920-1983???) at the Seoul
YMCA dojo as early as 1946. Byung was the first Korean national on record to study Chinese Chuan Fa, and
he did so under the supervision of a Mongolian Grandmaster in Manchuria, northeast China. He then took
this knowledge to Nihon University in Tokyo, Japan where he studied and assimilated Shudokan Karate under
the teaching of Kanken Toyama. Upon returning to Korea, Byung synthesized Northern Chinese Chuan Fa
with Korean & Japanese martial arts, and produced what later became known as Chang Moo Kwan. Byung
originally labeled his style Kwon Bop Kong Soo Do, a Korean phrase that literally translates: the way of fist law
AND empty hand. This designation not only pays tribute to the spirit of eclecticism that Byung wove into his art
from its outset, but in its literary form, one also sees Byungs conviction that a superior martial style needed to
reflect a proper blending of hard art (fist law) with soft art (empty hand). Later, Byung would suggest that the
style be called Chang Moo Kwan (said change would establish itself more fully under Byungs protege, Nam
Suk Lee), and in early years, the curriculum reportedly consisted of a unique blend of karate and chuan fa. The
techniques were said to have a smooth yet hard appearance when practiced or demonstrated. Supposedly,
early practitioners were required to perform several Chuan Fa forms, including Dan Kwon, Doju San, Jang
Kwon, Taijo Kwon, and Palgi Kwon, as well as at least two staff forms, one created by Byung himself and
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another brought over from Shudokan Karate. After the Korean War, Byung having gone missing and thought
to have perished, the propagation of Chang Moo Kwan fell into the hands of his top protege, Nam Suk Lee
(1925-2000). Interestingly, Lee actually started learning martial arts from a discarded Chinese translation of
Gichin Funakoshis karate textbook that he found in the streets sometime during the 1930s. He took over In
Yoon Byungs Chang Moo Kwan dojos at the age of 27 and would ultimately be responsible for the styles
overwhelming influence in the evolution of Korean Taekwondo. Unquestionably, it was Nam Suk Lees
leadership which cemented Chang Moo Kwan as the foundation of the World Taekwondo Federation
established in 1973, and he undoubtedly dedicated his life to the spread of Chang Moo Kwan and its self-
defense methods, rightfully remembered as the styles Patriarch. However, Lee more or less moved away
from In Yoon Byungs lineage when Taekwondo went international. Notwithstanding, after a long period of
retirement from active teaching, he spent the last two years of his life revisiting and teaching this heritage at a
YMCA dojo in San Pedro, California--the same heritage he received at a YMCA dojo in Seoul, Korea during the
1940s. Via our black belt lineage, the style of Cheonjikido lies in a direct line of descent from Chang Moo
Kwan as taught by In Yoon Byung and Nam Suk Lee. Though many specifics of the indigenous style have
been obscured and largely unpreserved, the principles championed in Seoul endure in Cheonjikido, not the
least of which is a consciousness of value in various martial arts styles, or a spirit of eclecticism, as opposed to
the blind devotion toward singular tradition that has many times reared its ugly head in martial arts history.
Other valuable Chang Moo Kwan principles preserved in Cheonjikido include a strong emphasis upon kata,
techniques that bear a smooth yet hard appearance, a proper balance of power and fluidity, attention to body
mechanics and the technical intricacies of basic technique, targeting precision, and the use of practical
weaponry. Interestingly, the 12 kata (Kibone 1-5, Pyan Dan 1-5, Chugi IL, & Ginsu-Ginsa) that Nam Suk Lee
taught in the San Pedro YMCA the last two years of his life bear the fingerprints of Funakoshi, Toyama, and
Chuan Fa, and therefore Byung spirit of cheonjikido. It is obvious that these forms predate the World
Taekwondo Federation and provide a unique glimpse into indigenous Chang Moo Kwan as it was originally
practiced. Cheonjikido has added these 12 forms as supplements to its own kata.

TAE KWON DO

Tae Kwon Do translates the way of hand and foot technique and is the Korean coinage proposed by General
Hong Hi Choi (1918-2002) on April 11, 1955 when leaders and historians from nine of Koreas kwans (i.e.
martial arts houses are traditions), including Nam Suk Lee and representatives from Chang Moo Kwan, met to
discuss uniting under a loose banner of national identity. This coinage was approved because of its
resemblance to Taekyon, a traditional Korean term that had been used to describe martial arts in military
training, and because it described both hand and foot technique, a common emphasis in all of the Korean
kwans. Although a loose organization was formed under the banner of Taekwondo, it was agreed that dojos
were to maintain their independence concerning martial arts philosophy and differences in technique. The
prevailing notion was to prevent the loss of the unique expressions of each kwan. In 1961, Nam Suk Lee
joined with other national martial arts leaders to form the Korean Taekwondo Association (KTD), a tangible
result of the 1955 assimilation agreement. In 1967, Lee was appointed General Director of KTD, and in 1969
(and again in 1971), he would serve as Vice-President. Under Lee, Chang Moo Kwan grew to be the
overwhelming influence in the evolution of Taekwondo, and it was viewed as the leading self-defense method.
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67

By 1973, the prevailing opinion was that Taekwondo needed to go international. Thus, the World Taekwondo
Federation (WTF) was formed in South Korea with Nam Suk Lee as Chairman. At this critical juncture,
Taekwondo started moving away from its original image of an eclectic assimilation of unique kwan expressions
and began to embrace an international sporting label as a result of the overwhelming influence of General
Choi. Today, Taekwondo has become more a a general term in the English language to refer to Korean martial
arts, most of which put strong emphasis on kicking technique. Reflections of Tae Kwon Do can be discerned in
Cheonjikido kata, particularly in Sa-Geup (#8), and in the importance our style attaches to kicking basics.
Interestingly, Cheonjikidos former designation, Teashikido, was basically a Japanese translation of the Korean
Taekwondo.

Okinawa
GOJU-RYU

Goju-ryu literally translates hard-soft way and refers to one of the main traditional Okinawan styles of karate.
This style was developed by Chojun Miyagi (1888-1953) around 1926 and was born out of his study in Naha-
Te under Okinawan karate master Kanryo Higaonna (1853-1915). In the early 1930s Miyagi entrusted
Gogen Yamaguchi (1909-1989), a well-known Japanese karate master, with spreading the doctrines of Goju-
ryu in mainland Japan. Yamaguchi systematized Goju-ryu and is credited with originating the practice of jiyu-
kumite (i.e. sport or tournament kumite) in 1936. Goju-ryu is a unique blend soft defensive techniques
combined with strong counter-attacks. Both speed (i.e. typical of hard striking arts) and circular patterns of
movement (i.e. typical of softer arts) are emphasized. Goju-ryu is also known for its use of dynamic tension
and dramatic breathing technique for strength and conditioning. This is clearly discerned in Sanchin and
Tensho, the two core katas of the style. Joint locks, grappling, takedowns, and throws also have their place in
this eclectic tradition. Like Goju-ryu, Cheonjikido can also be characterized as a hard-soft way that
acknowledges the value of strength and conditioning. In fact, the ending of our Il-Geup Kata (#10) reflects the
influence of Sanchin.

ISSHIN-RYU

Isshin-ryu literally translates one heart way and refers to the style of Okinawan karate developed by Tatsuo
Shimabuku (1906-1975) and formally named by him on January 15, 1956. Shimabuku was asked by his
number one student: Why such a funny name? To this, he replied: Because all things begin with one.
Isshin-ryu was developed as a result of Shimabukus background study in both the Shuri-te and Naha-te
traditions. In fact, he is known as one of the few to have mastered both systems. His most influential teacher
was Chotoku Kyan (1870-1945), one of the early lords of Okinawan karate; and he also studied privately with
Chojun Miyagi, the founder of Goju-ryu, at his home in Kyan village for about a year in 1947. Isshin-ryu is an
eclectic Okinawan style of karate that emphasizes both hard and soft elements. This dual focus is clearly
scene in the symbol of Isshin-ryu, a half-sea snake (i.e. strength) and half-woman (i.e. quiet character)
creature that Shimabuku claimed to have seen in a vision. The style itself is unique in its emphasis on natural
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positioning, utilization of 45-degree angles, the closing of distance, slipping evasion followed by immediate
redirection of attack, prompt and lethal disarmament, short snapping technique, and the use of practical
weaponry such as the bo. Sensei Larry Beal studied Isshin-ryu and saw the value of these unique emphases,
all of which are reflected today in Cheonjikido kata, ippon-kumite, and self-defense technique. Beal introduced
and adapted Naihanchi Kata and the Chin-ai-no-kin-sho bo staff form from the Isshin-ryu tradition into the
Newton Martial Arts dojo after its initial break with the Carolina Karate Association in 1992. Moreover, he
adapted our punches to reflect a natural 3/4-turn positioning with thumb placement atop the fist for added
stability and protection (i.e. as opposed to the typical full-twist karate punch with thumb placement over the
index and middle finger knuckles); and he adapted our blocks to a natural positioning with the muscle
supported by two properly aligned bones as the point of contact for added shock absorption (i.e. as opposed to
blocking with singular twisted bones as seen in other karate styles). Both of these modifications were the
result of Isshin-ryus influence in Beals training and are preserved today in Cheonjikido. Sam-Geup Kata (#8)
is Naihanchi as taught and adapted by Sensei Beal from Isshin-ryu. And, the Chin-ai-no-kin-sho bo form is
required for the rank of Shodan. Cheonjikido also values Isshin-ryus nami gaeshi hip kick, and the end of our
Il-Geup Kata (#10) reflects the influence of Sanchin, a traditional Goju-ryu form that Shimabuku incorporated
into Isshin-ryu as a result of his private study with Chojun Miyagi. It was Shimabuku who said of this kata with
its unique hourglass stance and dynamic tension: Sanchin is for health. Without health, how can you have
karate?

KOBUDO

Kobudo is the indigenous Okinawan art of weaponry, and in Japanese, the kanji for Okinawan Kobudo literally
translates old martial way of Okinawa. Okinawans have a unique tradition of sophisticated fighting
techniques associated with common household and farming implements, and this tradition arose amongst the
Shuri nobles or Keimochi after the 1609 Japanese samurai invasion that turned Okinawa into an enslaved
nation. For the next 250 years, the Japanese Satsuma overlords enforced a disarming policy that forbade the
Okinawan samurai and general populace from owning swords or traditional weapons. As a result, makeshift
weapons or weapons disguised as tools became a priority, particularly when it came to protecting Shuri Castle
and the Okinawan Sho Kings. From such objects as millstone handles, threshing flails, bridles, oars, turtle
shells, machetes, staffs, truncheons, and short swords, combined with methods secretly imported from China
and Southeast Asia, were developed fighting systems associated with the bo, sai, tonfa, nunchaku, kama,
tekko, eku, tambo, kuwa, hanbo, sansetsukon, etc. Most of the Shuri Keimochi whose names were prominent
in the origin and development of Okinawan karate were well-known kobudo masters who, serving as royal
bodyguards and police, encountered Satsuma overlords and armed foreigners on a daily basis. They were
forced to use peasant weapons because of a Japanese disarming policy, but those who wielded these
disguised weapons were not peasants. The hallmarks of Okinawan Kobudo were practicality, accessibility, and
disguise. Undoubtedly, it is the forerunner of Okinawan karate as the footwork in both systems is virtually
interchangeable. In Cheonjikido, four Kobudo bo kata are required learning: Tsuken No Kon for Il-Geup (brown
belt), Shushi No Kon and Cho Un No Kon for Nidan, and Saku-gawa No Kon for Sandan. It is our conviction
that the bo and the shorter jo are practical weapons that are easily disguised and accessible (i.e. objects that
resemble these weapons) in this age of political correctness.
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NAHA TE

Naha-te (i.e. Naha-hand) is a pre-World War II term for a type of Okinawan karate indigenous to the area
around Naha, an important port town in the Ryukyu Kingdom and the present-day capital of the island of
Okinawa. With the rise of the term karate (i.e. empty hand) in the 20th Century, the practice of naming styles
of martial arts after areas of origin declined. Thus, Naha-te is no longer in general use. Naha-te was primarily
based upon White Crane Chuan Fa which Kanryo Higaonna (1853-1915), known as the father of the Naha-te
tradition, studied for fourteen years while living and working as a basket maker in Southern China. Sometime
during the 1880s, Higaonna began teaching chuan fa in Naha; and by 1905, he was teaching Naha-te in the
Naha Commercial School. In terms of philosophy: Naha-te was rooted in muscular strength and grappling; it
stressed subduing opponents as opposed to destroying them; it taught practitioners how to defend themselves
in the dark by maintaining hand contact throughout a fight; and it placed an enormous emphasis on Sanchin
kata, a grueling 90-seconds of exhausting isometric movement during which the one performing the kata is
struck repeatedly with a stick in the chest, back, and legs so as to build up immunity against pain. Higaonna
himself followed the chuan fa philosophy that students should practice Sanchin for three straight years before
being taught anything else. Goju-ryu is the primary successor style of the Naha-te tradition, and many other
styles of karate were influenced by it, including Isshin-ryu, Shudokan, and Shito-ryu, a style developed by
Kenwa Mabuni (1889-1952), one of the first karateka to teach Okinawan karate on the Japanese mainland. In
terms of moral conviction, Cheonjikido embraces the Naha-te tradition which favored subduing ones opponent
over destroying him. However, if it becomes necessary in an effort to live by the biblical injunction of Proverbs
24:10-12, Cheonjikido practitioners are encouraged follow the Shuri-te route of destruction, and that right
quickly. Sometimes, the Naha-te tradition is referred to as Shorei-ryu (i.e. the way of inspiration).

SHURI TE

Shuri-te (i.e. Shuri-hand) is a pre-World War II term for a type of Okinawan karate indigenous to the area
around Shuri, the old capital city of Ryukyu Kingdom. With the rise of the term karate (i.e. empty hand) in the
20th Century, the practice of naming styles of martial arts after areas of origin declined. Thus, Shuri-te is no
longer in general use. Unlike Naha-te, which was based upon Chinese chuan fa, the Shuri-te tradition, or
linear karate, was largely invented by Sokon Matsumura (1809-1901) who spent more than fifty years as the
chief military officer of Shuri Castle, from the mid-1820s until 1879. Matsumura was given the title bushi (i.e.
warrior) by the Okinawan king in recognition of his abilities and accomplishments in the martial arts. All
branches of linear karate descend from or through Matsumura, the inventor of Shuri-te, and most of those also
come through Anko Itosu (1831-1915), Matsumuras primary protege. If Matsumura was the inventor of
Shuri-te, Itosu was its teacher and is therefore often referred to as the father of modern karate. Many of the
students who secretly trained in Itosus home during the 1880s and 1890s are some of the greatest names in
the history of karate (including, but not limited to: Gichin Funakoshi, Kanken Toyama, Chojun Miyagi, and
Tatsuo Shimabuku), the same who who established famous dojos and styles in later years. Late in his life,
something that Itosu taught his students was quite revolutionary: it is possible to practice karate apart from
secrecy, and it can be taught to the general public. Around 1902, Itosu was instrumental in getting karate into
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Okinawas public schools, and by 1905, he himself was teaching at both the Prefectural Dai Ichi College and
the Prefectural Teachers Training College. Had Itosu maintained the extreme secrecy of Matsumura and other
previous instructors, karate would have remained clandestinely tucked away on the island of Okinawa, perhaps
to have gone extinct following the ravages of World War II. Bruce Clayton, in the well-written Shotokans
Secret (Burbank, CA: Ohara Publications, 2006), writes Comparing Shuri technique with Naha is like
comparing the irresistible cannonball with the immovable post, yet both are known as karate simply because
both towns are in weaponless Okinawa. Actually, the two traditions have little in common, and there was quite
a bit of rivalry between Shuri-te and Naha-te between 1902 and 1930 due to differences of origin, philosophy,
and technique. While Naha-te was more about muscle strength and grappling, Shuri-te was rooted in speed
and impact. Matsumura, Itosus teacher, may have been the first to really appreciate a key rule of physics in
his practice of the martial arts: kinetic energy increases exponentially with the square of the speed. In other
words, speed was the key to net power and a means whereby stronger and more muscular opponents could
be subdued. Supposedly, Matsumura never lost a fight because of his application of this principle. While
Naha-te sought to subdue an opponent, Shuri-te was about destroying an opponent, and that right quickly.
The Shuri-te tradition assumed that one could see his opponent whereas Naha-te emphasized technique that
allowed one to fight in the dark. Finally, unlike Naha-te, the Shuri-te tradition completely abandoned Sanchin
Kata. Despite the rivalry and moral tension (i.e. subdue vs. destroy) between the two traditions, some
influential karate masters would eventually take an eclectic approach, seeking to synthesize the strengths of
both Shuri-te and Naha-te. This spirit of eclecticism and integration, in fact, filtered through Kanken Toyama to
In Yoon Byung and down to Sensei Larry Beal in Cheonjikidos yudansha lineage. It is said that Anko Itosu
called his Shuri-te type of karate Shorin-ryu, meaning Shos forest. This was not homage to the Shaolin
Buddhist Temple, as has been popularly disseminated, but rather a subtle tribute to his teacher, Sokon
Matsumura. The first kanji character in Matsumuras name means pine tree with a kun reading (i.e.
Japanese reading) of matsu. The on reading (i.e. reading in ancient Chinese) of that same character is sho.
So, Shos forest would be Matsumuras grove. This fact is further confirmed by the opening statement of
Anko Itosus Ten Precepts of Karate correspondence that he wrote to draw the attention of the Japanese
Ministries or Education and War in October of 1908: Karate did not develop from Buddhism or Confucianism.
This letter was very influential in the spread of karate styles greatly influenced by the Shuri-te tradition,
including Shotokan, Shudokan, Shito-ryu, and Shorin-ryu. The latter was systematized by Chosin Chibana
(1885-1969) as one of the oldest successor styles to Shuri-te and officially named by him in 1933. Chibana
was one of Itosus top students, and he was the first to officially propagate a Japanese Ryu designation for an
Okinawan karate style, utilizing Itosus Shos forest epithet.

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itosus ten precepts of karate

In October of 1908, Anko Itosu, a student of Sokon Matsumura and a teacher of the Shuri-te tradition of
Okinawan karate, often referred to as the Father of Modern Karate, wrote a letter to draw the attention of the
Japanese Ministries of Education and War. Not only was this letter very influential in the spread of karate, but
it communicated a spirit of martial arts eclecticism, acknowledging value in both Shorin-ryu (i.e. Shuri-te),
Itosus own tradition, and Shorei-ryu (i.e. Naha-te), and its opening statement is clear historical proof from an
original source that karate is not Buddhist neither was it tied in its historical development to manmade religion.
For these and other reasons, this letter, in its entirety, is worthy of translation and reproduction. And any
serious practitioner of martial arts, regardless of preferred style, would do well to heed its contents:

Karate did not develop from Buddhism or Confucianism. In the past the Shorin-ryu school [i.e. Shuri-te] and the
Shorei-ryu [Naha-te] school were brought to Okinawa from China. Both of these schools have strong points,
which I will now mention before there are too many changes:

1. Karate is not merely practiced for your own benefit; it can be used to protect one's family or master. It is
not intended to be used against a single assailant but instead as a way of avoiding a fight should one be
confronted by a villain or ruffian.
2. The purpose of karate is to make the muscles and bones hard as rock and to use the hands and legs as
spears. If children were to begin training in Tang Te [i.e. China hand later termed karate or empty hand]
while in elementary school, then they will be well suited for military service. Remember the words
attributed to the Duke of Wellington after he defeated Napoleon: "The Battle of Waterloo was won on the
playing fields of Eton."
3. Karate cannot be quickly learned. Like a slow moving bull, it eventually travels a thousand miles. If one
trains diligently every day, then in three or four years one will come to understand karate. Those who train
in this fashion will discover karate.
4. In karate, training of the hands and feet are important, so one must be thoroughly trained on the
makiwara. In order to do this, drop your shoulders, open your lungs, take hold of your strength, grip the
floor with your feet, and sink your energy into your lower abdomen. Practice using each arm one to two
hundred times each day.
5. When one practices the stances of Tang Te [i.e. karate], be sure to keep your back straight, lower your
shoulders, put strength in your legs, stand firmly, and drop your energy into your lower abdomen.
6. Practice each of the techniques of karate repeatedly, the use of which is passed by word of mouth. Learn
the explanations well, and decide when and in what manner to apply them when needed. Enter, counter,
release is the rule of releasing hand (torite).
7. You must decide if karate is for your health or to aid your duty.
8. When you train, do so as if on the battlefield. Your eyes should glare, shoulders drop, and body harden.
You should always train with intensity and spirit, and in this way you will naturally be ready.

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72

9. One must not overtrain; this will cause you to lose the energy in your lower abdomen and will be harmful
to your body. Your face and eyes will turn red. Train wisely.
10. In the past, masters of karate have enjoyed long lives. Karate aids in developing the bones and muscles. It
helps the digestion as well as the circulation. If karate should be introduced beginning in the elementary
schools, then we will produce many men each capable of defeating ten assailants. I further believe this
can be done by having all students at the Okinawa Teachers' College practice karate. In this way, after
graduation, they can teach at the elementary schools at which they have been taught. I believe this will be
a great benefit to our nation and our military. It is my hope you will seriously consider my suggestion.

Anko Itosu, October 1908

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73

recommended bibliography

Clayton, Bruce D. Shotokans Secret. Burbank, CA: Ohara Publications, 2006.

Funakoshi, Gichin. Karate-Do, My Way of Life. Tokyo, Japan: Kodansha International, 1975.

Kanazawa, Hirokazu. Karate, The Complete Kata. Tokyo, Japan: Kodansha International, 2009.

Morgan, Forrest E. Living the Martial Way. Fort Lee, NJ: Barricade Books, 1992.

Musashi, Miyamoto. The Book of Five Rings. Translated by Thomas Cleary. Boston, MA: Shambhala, 2005.

Saunders, Neil. Aikido: The Tomiki Way. Victoria, Canada: Trafford, 2003.

Saunders, Neil. Tomiki Aikido. Victoria, Canada: Trafford, 2007.

Copyright Cheonjikido, 2013. All Rights Reserved.