The CCBBA Karate Curriculum Blue Belt To Red Belt
Red belt students are expected to assume some
responsibility in the operation of the Karate school. Initially this takes
the form of assisting with teaching the lower belts under the supervision
of a black belt. When they are ready, they will be responsible for
planning, teaching and updating the records for a total of five lower belt
classes. Teaching what they have learned to other students is a critical
part of the Karate curriculum, and many students will find it a formidable
challenge. The master of the school must be prepared to offer guidance in
pedagogy, as well as new techniques to the red belt student.
The red color symbolizes heat, courage and blood, indicative of the red
belt's increasing ability increased fighting abilities which begin to become
apparent as they begin sparring in earnest.
- White Belt Basics
- Gold belt Combinations
- Green belt Combinations
- Purple belt Combinations
- Blue belt Combinations
- Count Kicks (Front, Side, Round, Hook)
- One Minute Balance Kicks
- One Step Counters (1-8)
- Fast Rhythm Sparring
- Free Sparring
- Point Sparring
- Kam Sah Form (Discipline)
- Kyu Yool Form (Respect)
- Jayoo Form Form (Freedom)
- Chosan Form (Ancestors)
- Jungyee Form Form (Justice)
- Chon Ji Form (Beginnings)
- Pyung Fa Form (Peace)
- Yul Gok Form (Philosophy)
- Breaking (One Board, Knife Hand)
- Rolls, Forward, Left & Right Side
- Self-Defense (1-10) plus followup
- Stage Fighting 1 - 2
- Speech: "Knowledge in the Mind"
- Attendance: 38 Classes
- Physical fitness 25 perfect military-style pushup, 100 crunch situps,
400 jumping jacks
- Weight training Three sets of eight repetitions curls, flys, bench
press, wrist curls.
- Teaching (white or gold belt level) five lessons.
Technique Descriptions & Discussion
- Reverse hook kick, back leg round kick, back punch
- Front leg front kick, front leg hook kick, reverse hook kick, back
punch.
- Back leg round kick, tornado kick, back ridge hand.
The tornado kick is very showy and acrobatic when performed correctly, but
has a limited use in actual fighting. The surprise factor inherent in the
tornado kick can be valuable against an opponent, but that value may be
overshadowed by it's difficulty and limited effectiveness in a real world
situation. The easiest way to learn the tornado kick is to use it as a
continuation of the back leg round kick. The back leg round kick sets the
body in the correct motion and posture for the tornado kick. The following
instructions describe the right leg tornado kick, reverse directions for the
left leg tornado kick.
- Assume an upright fighting stance with the right foot forward, the arms
raised and the fists in front of the face in a guarding position.
- Pivot 180 degrees counterclockwise on the ball of the right foot so that
you are facing away from the target.
- Lift and bend the left knee as you crouch on the right leg and poise for
the strike.
- Spin and jump 180 degrees counterclockwise, using the momentum of the left
leg to gain height and power as you execute a spinning kick with the right
leg.
- Land in an upright fighting stance with the right foot forward.
Ready Position: Upright stance with your feet together and your arms in a closed-fist x-block at chest level in front of you . All directions assume that you are facing
north.
- Without moving the feet, snap both arms out into a horizontal chop
position, palms down, pointing east & west.. Kihap.
- Step north with the left foot while executing a high right chop.
- Right leg back round kick followed by an offensive right leg front side
kick and left back punch.
- Assume a back stance with the right leg forward and execute a low chop
block with the right hand.
- Step northeast with the right foot into a front stance and execute a high
chop block with the right hand.
- Step back with the right foot to assume a back stance with the left foot
forward and execute a low chop block with the left hand.
- Step northwest with the left foot into a front stance and execute a high
chop block with the left hand.
- Step back with the left foot to assume a back stance with the right foot
forward and execute a low chop block with the left hand.
- Turn 180 degrees counterclockwise to face south in a back stance with the
left foot forward and execute a ridge hand strike with the right hand. Kihap
- Right leg back round kick followed by a right leg tornado kick and right elbow strike to the left palm from a
horse stance.
- Without changing stance, right arm up, left arm down in a closed fist inside
blocks.
- Without changing stance, left arm up, right arm down in a closed fist
inside blocks.
- Without changing stance, both arms up in a closed fist inside blocks.
- Without changing stance, both arms down in a closed fist inside blocks.
- Without changing stance, right punch with left palm resting on the right
elbow.
- Without changing stance, both arms punch to the right side.
- High fist x-block with both arms above your head.
- Pivot 180 degrees clockwise on your right heel into a horse stance facing
north and execute close fist up blocks with both arms.
- Without changing stance, right arm up, left arm down in a closed fist
inside blocks.
- Without changing stance, left arm up, right arm down in a closed fist
inside blocks.
- Without changing stance, both arms up in a closed fist inside blocks.
- Without changing stance, both arms down in a closed fist inside blocks.
- Without changing stance, right middle punch with left palm resting on the right
elbow.
- Without changing stance, both arms punch to the right side.
- Spin 360 degrees counterclockwise in a jump turn. Land in a back
stance with the right foot forward and execute a right chop block.
- Step north with the left foot into a back stance with the left foot
forward and a left chop block.
- Turn your head to face south while bringing the left foot together with
the right foot in an upright stance while executing a slow right chop over
your head and ending with the right hand pointing south.
- Right leg hook, round and side kicks without setting down.
- Step south into front stance with the right leg forward while executing a
left elbow strike to the right palm. Kihap
- Turn your head to face north, bring the right foot to the left foot then
step north into a horse stance and execute an elbow strike with the left
arm.
- Step back with the left leg into a back stance with the right leg forward
and execute a right chop block.
- Left back punch. Kihap
Yul Kok Form (Philosophy)
Yul Kok was the pseudonym of a great philosopher and scholar Yi I (1536 -
1584 A.D.), who was nicknamed the "Confucius of Korea."
Ready Position: Parallel ready stance with your feet at shoulders width and
your two fists touching at belt level in front of you . All directions assume that you are facing
north.
- Step west with the left foot into a horse stance and execute a left
middle punch.
- Without changing stance, execute a slow middle punch with the right fist.
- Without changing stance, execute a slow middle punch with the left fist.
- Bring the left foot alongside the right foot, then step east with the
right foot into a horse stance while executing a slow middle punch with the
right fist.
- Without changing stance, execute a slow middle punch with the left fist.
- Without changing stance, execute a slow middle punch with the right fist.
- Pivot on the left foot 45 degrees clockwise to face northeast in a right pfront stance and execute a high inner fist block with the right arm.
- Without changing arm positions, step northeast and execute a left front
kick.
- Step northeast into a left leg front stance and execute a front punch with
the left fist.
- Without changing stance, execute a right back punch.
- Pivot 90 degrees counterclockwise to face northwest into a left front
stance and execute a high inner fist block with the right arm.
- Without changing arm positions, step northwest and execute a right front
kick.
- Step northwest into a right leg front stance and execute a front punch
with the right fist.
- Without changing stance, execute a left back punch.
- Pivot 45 degrees clockwise on the left foot to face north in a right front
stance as you execute a slow chop block sliding the right hand along the
outstretched left arm as it retracts with the palm up next to the chest.
- Without changing stance, execute a slow chop block sliding the left hand
along the outstretched right arm as it retracts with the palm up next to the
chest.
- Without changing stance, execute a right front punch.
- Step north into a left front stance while executing left knife hand and
retracting the right arm in a smooth motion.
- Without changing stance, execute a slow chop block sliding the right hand
along the outstretched left arm as it retracts with the palm up next to the
chest.
- Without changing stance, execute a left front punch.
- Step north into a right leg front stance and execute a front punch with
the right fist. Kihap.
- Bring the left foot to the right foot in an upright stance, then pivot 90
degrees clockwise on the right heel so the toes point east and your
head is facing north. Place both the right fist on your right hip,
thumb up and place the left fist above it, thumb up.
- Left leg defensive side kick.
- Set the left foot down into a left front stance facing north as you
execute a right elbow strike to the left palm.
- Bring the right foot to the left foot in an upright stance so the toes
point east and your head is facing south. Place both the left fist on
your left hip, thumb up and place the right fist above it, thumb up.
- Right leg defensive side kick.
- Set the right foot down into a left front stance facing south as you
execute a left elbow strike to the right palm.
- Step east with the left foot into a back stance with the left leg forward
as you execute a twin knife-hand block.
- Step east with the right foot into a right front stance as you execute a
knife hand with the right hand.
- Pivot 180 degrees clockwise on the left foot to face west and step into a
back stance with the right foot forward as you execute a twin knife-hand
block.
- Step west with the left foot into a left front stance as you execute a
knife hand with the left hand.
- Pivot 90 degrees counterclockwise on the right foot and step into a front
stance with the left foot forward as you execute a high fist block with the
left hand.
- Without changing stance, execute a right back punch.
- Step north with the right foot into a front stance with the right foot
forward, as you execute a high fist block with the right hand.
- Without changing stance, execute a left back punch.
- Jump north, landing in an x-stance with the left foot flat on the floor
and the right toes touching the floor to the left of the left heel.
Execute a high back fist with the left hand. Kihap.
- Pivot 270 degrees clockwise on the left foot to face west and step into a
front stance with the right foot forward. Execute a high outer block with
the right fist. The left fist should be touching the inside of the right
elbow with the palm up.
- Bring the right foot to the left foot in an upright stance facing north,
then step east with the left foot into a front stance. Execute a high
outer block with the left fist. The right fist should be touching the inside
of the left elbow with the palm up. Kihap.
Many Karate schools have de-emphasized or entirely abandoned board breaking
as a part of the curriculum due to the potential for injury and the high cost
and logistical difficulty of obtaining high quality kiln dried boards to
break. The CCBBA includes board breaking in the program in the belief that
it validates the power and precision of the breaking techniques and gives
students an invaluable sense of real world confidence. Rather than incur the
expense and contribute to the environmentally wasteful practice of using wooden boards,
we have adopted the more practical "rebreakable" boards now available
from martial arts supply houses1. These boards are made of high impact molded
plastic that allows boards to be broken over and over again. The two halves of
the board fit together in a locking groove that allows the board to
"break" with a satisfying snap when enough force is applied. The best
models feature a graded series of splines that fit into the locking groove
like laced fingers. This allows a one, two or three board thickness to be simulated.
The secret to all breaking lies in a complete commitment to the strike and a
precise focus of the force at the breaking point of the board. The knife
hand board break is set up by positioning two concrete blocks on a solid floor
separated so as to each support the last half inch of the board. IF YOU
ARE USING A WOODEN BOARD, BE SURE THAT YOU ARE BREAKING ALONG THE GRAIN OF THE
WOOD, NOT ACROSS IT!
The student kneels in front of the board and blocks so that the center of the
board is within easy striking distance. The striking hand should be held
so that the fingers are tight together and arched as much as possible toward the
thumb. The thumb is tucked tightly along the top of the hand towards the
index finger.
The break is performed by first making several slow practice strikes to gauge
the distance and focus the energy. You should target the underside of the board
rather than the top, and you want to strike the exact center of the board
between the two supporting blocks. The strike itself should be preceded
by a deep breath in followed by a quick exhalation and Kihap at the moment of
contact.
Unlike free sparring, point sparring has a very specific format and adds a
referee into the mix to make judgment calls. A reasonable comparison might
be between a bar brawl and a golden gloves boxing match. Point sparring is
an important part of any Karate tournament, both for the crowd pleasing
excitment of the
fighting itself as well as an objective measure of the combatants in the
competition.
The format for point sparring is as old as fighting competition itself; two
combatants and the whole world watching. Point sparring is the center ring in the
Karate circus.
The rules are simple, striking areas include the head, abdomen and groin, illegal
areas include the legs, knees, and back. In some tournaments leg sweeps are
legal, in others they are not. A match typically consists of three points
or legal strikes. The first one to reach that goal wins. The
referee is there to be a close observer, to adjudicate close calls, and to stop
the match if things get out of hand for any reason.
Point sparring is as different from free sparing or
street fighting, as checkers is from chess. In point sparring, you don't have to hurt your opponent at all to win, just
outsmart them. This leads to a variety of psychological gambits and ploys
that are as artificial as they are effective, and at many tournaments one feels
that the best man didn't win. Nevertheless, the rules are the rules and
the one who most capably exploits them really is the winner and deserves the
trophy.
Learning to roll is not a typical part of the Karate curriculum, but it is so
useful that it is included here as an adjunct to the main program and a
generally useful skill for any martial artist. Both the types of rolling
techniques included as well as the methods used to teach them, are derived
directly from judo. Initially, students are taught the squatting forward
roll. This simple roll gets the student familiar with rolling and has
minimal chance of injury. Next the standing side roll is presented, both
left and right sides. The back roll is taught in the context of recovering from
a backwards fall to a standing position. Finally the jump rolls are taught:
first the front jump roll, then the left and right side jumps. All jump
rolls require careful one on one spotting until a minimal level of competency is
gained to reduce the chance of injury. Elevation and distance are
gradually increased culminating at the brown belt level in side jumps over a 36
inch tall by 14 inch wide barrier.
In most schools, advanced students are required to teach in the school as a part of their
training. Teaching is considered an important component of the program
both to build confidence, and to force the student to parse out the more subtle
aspects of the techniques they are explaining. Typically the advancing
student, begins by assisting the master of the school with classes, then quickly
assumes the responsibility for conducting an entire class on their
own.
Most of the techniques taught in this curriculum utilize the more modern,
"Americanized" upright stances that were introduced in the 1960's by master Rhee and Allen R. Steen. These stances have been proven to increase both the speed and power
of the punches and kicks that comprise most of Karate. In the view of many
traditionalist Karate practitioners however, the upright postures are not as
aesthetically pleasing as the lower and less angular traditional forms. In
acknowledgement of the cultural history of Karate, students are trained in the
traditional stances for use in forms, where poise and grace are more important
elements than speed and power.
Here are brief descriptions of the basic traditional stances:
Back Stance. Stand with the leading shoulder and side facing
the opponent. The feet should be spread a little wider than shoulder
width, with the knees bent deeply. The toes of the leading foot should
be pointing at the opponent and the toes of the trailing foot should be turned
90 degrees away from the opponent.
Front Stance. Stand facing the opponent squarely. The legs
should be spread twice shoulder's width, at a 45 degree angle with respect to
the shoulders. The front knee is deeply bent and the back leg straight.
The toes of both feet should be pointed towards the opponent.
Horse (or Straddle) Stance. Stand facing the opponent
squarely. The legs should be spread twice shoulder's width apart with
both knees deeply bent and the toes of both feet pointing towards the
opponent. Imagine sitting atop a large, wide horse with your feet in the
stirrups on either side.
Stage fighting is a mock combat that choreographs a series of attacks and
blocks into a realistic but artificial fight sequence. Students are
assigned to work with a partner at their own belt level and create a series of a
dozen or so attacks and blocks that seem to "go together." The
sequence should be written down for future reference. The partners should
practice the sequence so that either of them can take either role in the
sequence. Once the stage fighting sequence has been memorized, the tempo
and precision should be increased to enhance the realism of the fight. A
properly performed stage fighting sequence is both believable and exciting.
Want More?
CCBBA Karate Curriculum | Gold belt |
Green
belt | Purple belt | Blue
belt | Red belt | 1st Degree Brown
belt | 2nd Degree Brown belt | Black belt |
Tae Kwon Do Terminology | Tae Kwon Do | Karate | Martial Arts
Acknowlegements: Muchas Gracias to the steadfast and resolute Ms.
T for her astute and insightful editorial assistance, also to the thaumaturgic
dannye for explicating the intricacies of multi-volume noding.
1 AWMA Rebreakable Board: http://www.awma.com/index.cfm/action/productdetail/product_id/9738.htm