List of shotokan techniques

The list of Shotokan techniques encompasses the fundamental and advanced movements central to Shotokan karate, a style of traditional Japanese martial arts developed from Okinawan origins and emphasizing powerful, linear attacks, strong stances, and precise execution through categories such as stances (dachi), blocks (uke), punches (tsuki), strikes (uchi), kicks (geri), and forms (kata).^[1][2] These techniques form the backbone of training, promoting physical conditioning, mental discipline, and practical self-defense skills.^[3] Shotokan karate was founded by Gichin Funakoshi (1868–1957), who introduced Okinawan karate to mainland Japan in the early 20th century, establishing it as a formalized discipline through his teachings and writings.^[4][5] Funakoshi's seminal text, Karate-Dō Kyōhan (1932, revised 1957), serves as the primary authoritative source for these techniques, detailing their execution, applications, and philosophical underpinnings to ensure no wasted motion and maximum efficiency.^[2] Under the Japan Karate Association (JKA), established in 1948 as the leading organization preserving Shotokan, techniques are refined scientifically, focusing on posture, balance, and explosive power (kime) for real-world applicability.^[6] In practice, Shotokan techniques are divided into three interconnected pillars: kihon (basic drills for repetition and mastery), kata (prearranged sequences simulating combat against multiple opponents, with 26 standard forms in JKA curricula^[7]), and kumite (controlled sparring to apply techniques dynamically).^[3] Key examples include seven foundational stances like zenkutsu-dachi (front stance) for stability and kiba-dachi (horse-riding stance) for lateral power; blocking methods such as gedan-barai (downward block) and age-uke (rising block); thrusting punches like oi-zuki (lunge punch) and gyaku-zuki (reverse punch); open-hand strikes including shuto-uchi (knife-hand strike); and kicks such as mae-geri (front kick) and yoko-geri (side kick).^[2] This structured repertoire, rooted in Funakoshi's integration of Shorei (strength-focused) and Shorin (speed-focused) schools, underscores Shotokan's balance of offense, defense, and holistic development.^[2][1]

Stances (Dachi)

Attention and natural stances

In Shotokan karate, attention and natural stances form the foundational upright positions that emphasize posture, balance, and relaxed readiness, serving as starting points for salutations, drills, and transitions into more dynamic techniques. These stances promote a state of alertness without overt tension or combat intent, allowing practitioners to maintain natural body alignment while preparing for movement. They are typically performed with the spine straight, shoulders relaxed, and weight evenly distributed to foster stability and mental focus.^[8] Heisoku-dachi, also known as the closed-foot stance, involves bringing the feet together with heels and big toes touching, forming a parallel alignment while keeping the body upright and hands relaxed at the sides or clasped in front for salutation. This stance is primarily used for formal attention during bowing (rei) at the beginning and end of training sessions, ensuring a composed and respectful posture. It appears in certain kata, such as Tekki Shodan, to reset positioning, highlighting its role in maintaining discipline and centeredness.^[8][9] Musubi-dachi, or the open-foot stance, positions the heels together with toes turned outward at approximately 45 degrees, knees slightly flexed, and hands at the sides or in a prayer-like position for informal readiness. Often employed as an attention stance during class transitions or light bowing, it allows for subtle mobility while upholding a natural, alert posture that signifies openness and preparedness. This configuration, sometimes called heels-together natural stance, supports quick shifts into other positions without disrupting balance.^[8][10][9] Hachiji-dachi, the open natural stance, places the feet shoulder-width apart with heels aligned in a straight line, toes pointing slightly outward at about 45 degrees, knees turned out, and weight evenly balanced on the balls of the feet. Resembling the Japanese character for "eight" (hachi), it serves as a typical ready position for basic kihon drills, promoting relaxation and stability in a non-weighted form. Hands are usually at the sides or in a loose guard, emphasizing the absence of aggressive intent while enabling smooth progression into techniques.^[8][10] Shizen-tai, the natural stance, adopts a relaxed upright posture with feet hip- to shoulder-width apart (often mirroring hachiji-dachi or heiko-dachi), toes forward, and arms hanging naturally at the sides or slightly forward with open hands to convey no specific intention. It embodies a state of vigilant readiness for any direction of movement, standing very naturally yet alert for potential action, and is commonly used in yoi (ready) positions during practice. This stance underscores Shotokan's philosophy of harmonious balance, free from unnecessary tension.^[8][9][11] Heiko-dachi, or parallel stance, aligns the feet hip-width apart with toes pointing forward in parallel, knees soft, and weight centered evenly for a stable base. Frequently serving as a preparatory position after salutations or between exercises, it facilitates even distribution of body weight and ease of transition, such as stepping into forward stances like zenkutsu-dachi for advancing drills. Hands remain relaxed at the sides, reinforcing its role in building foundational posture without strain.^[8][9][10]

Forward and rear stances

In Shotokan karate, forward and rear stances represent the primary linear positions designed for generating thrusting power, maintaining balance during movement, and facilitating transitions between attack and defense. These stances prioritize a forward-backward alignment to enhance stability and force delivery along a single axis, contrasting with lateral configurations. Key examples include Zenkutsu-dachi for offensive advancement, Kokutsu-dachi for defensive retraction, and Hangetsu-dachi for controlled tension and breathing exercises. Zenkutsu-dachi, known as the front stance, positions the feet with the front toes pointing forward and slightly inward, while the rear toes face forward; the stance spans hip-width side-to-side and approximately twice that in length. Weight distribution is 60% on the front leg and 40% on the rear, with the front knee bent fully over the ankle to form a right angle and the rear leg extended straight without locking the knee. This configuration lowers the center of gravity for enhanced stability, enabling powerful forward drives in techniques such as reverse punches and front kicks.^[8] Kokutsu-dachi, or the back stance, aligns the front foot toes forward and the rear foot toes at a 45-degree angle outward, with feet positioned at right angles and a width matching the horse-riding stance. Weight is allocated 30% to the front leg and 70% to the rear, the front leg bent at the knee while remaining extended, and the rear leg deeply flexed to support the majority of the body's mass. This rear-weighted posture promotes defensive readiness, ideal for retreating while countering with blocks or strikes from a stable base.^[8] Hangetsu-dachi, the half-moon stance, features feet shoulder-width apart with toes turned inward to form an inverted "V" shape, creating a wide base that narrows slightly during advancement; the overall length is about one and a half times shoulder width. Weight is evenly distributed 50% on each leg, with both knees bent low and pressing outward against the inward foot orientation to generate internal tension, while the hips remain level and the back straight. Employed primarily in the Hangetsu kata, this stance builds endurance through slow, deliberate movements and synchronized breathing, fostering ki development for close-range applications.^[11][12] These stances often integrate with blocking techniques to establish defensive setups before counteroffensives.^[8]

Horse and wide stances

Horse and wide stances in Shotokan karate emphasize a broad base to enhance lateral stability, facilitate hip rotation for generating power, and support techniques executed from the side, such as strikes and blocks.^[13] These stances promote a grounded posture that allows practitioners to maintain balance during dynamic movements while channeling force through the lower body.^[9] Kiba-dachi, or horse-riding stance, features feet positioned wider than shoulder width with toes pointing forward, knees bent outward to align with the feet, and weight evenly distributed between both legs at a 50/50 ratio. The hips are lowered while keeping the back straight and the upper body erect, creating a stable platform approximately one and a half shoulder widths in length. This stance is ideal for side-oriented strikes and blocks, providing robust support for techniques like yoko-geri (side kick) and empowering hip-driven rotations.^[14][15] Sanchin-dachi, known as the narrow horse or hourglass stance, involves placing one foot slightly forward with the toes turned inward—the front foot at about 15 degrees and the rear at 45 degrees—forming a pigeon-toed alignment that tenses the inner thighs and protects the groin. The knees are deeply bent, hips sunk low, and weight centered evenly, accompanied by muscle tension throughout the body and controlled deep breathing to cultivate internal strength. It appears in advanced kata such as Nijushiho and Unsu, where it builds rooted power and stability for close-range combat and rotational strikes.^[16][9] Fudo-dachi, the immovable stance (also known as Sochin-dachi), resembles a hybrid of kiba-dachi and zenkutsu-dachi, with feet hip-width apart, the front foot pointing forward and the rear at a 45-degree angle, both knees bent, and weight distributed 50/50 for balanced readiness. The hips thrust forward, back remains straight, and the body orients sideways to the direction of movement, offering a rooted position resistant to pushes or grapples. Commonly featured in the Sochin kata, it supports defensive maneuvers and quick transitions, including applications in deflecting blocks to preserve equilibrium.^[17][8]

Cat and specialized stances

Cat and specialized stances in Shotokan karate emphasize evasive footwork, balance, and stability for advanced applications, particularly in kata where deception and rapid transitions are key. These positions allow practitioners to maintain a low center of gravity while facilitating quick retreats or counters, distinguishing them from more linear forward or horse stances. They are integral to higher-level training, promoting both defensive resilience and offensive setup through precise weight distribution and body alignment.^[8] The Neko-ashi dachi, or cat stance, features the front foot lightly touching the ground with toes raised, while the majority of weight—approximately 80%—rests on the bent back leg, creating a 20/80 distribution (front/back). The back knee points forward, and the hips remain square to enable swift lifts of the front leg for blocks or kicks. This stance supports feints and retreats, enhancing agility in kata such as Heian Shodan and advanced forms like Gojushiho Sho, where it aids in evading low attacks while preparing for immediate follow-ups.^[18][8][9] Sochin-dachi, also known as Fudo-dachi or the rooted stance, positions the feet hip-width apart with the front foot pointing forward and the rear turned outward at a 45-degree angle, both knees bent for stability. Weight is distributed 50/50 between the legs, with the body half-facing the opponent to maximize defensive posture. Named after the "strength and calm" principle in the Sochin kata, it provides an unyielding base against pushes or strikes, ideal for tension release in advanced sequences.^[8][17] These stances integrate briefly with kicking techniques, allowing evasive shifts into front snap kicks without losing momentum.^[8]

Blocking techniques (Uke-waza)

Rising and high blocks

Rising and high blocks in Shotokan karate are defensive techniques designed to protect the head and upper body from overhead or high-level attacks, such as punches, hooks, or strikes with weapons, by employing upward motions with the arms to deflect or intercept threats. These blocks emphasize vertical deflection, often utilizing the outer forearm or reinforced hand positions to redirect force while maintaining stability in the lower body. Typically executed from forward stances like zenkutsu-dachi for optimal balance and power generation, they form foundational elements in kihon (basics) and appear frequently in kata such as Heian shodan.^[19][20] Age-uke, or rising block, is a fundamental technique where the outer forearm rises diagonally upward with the palm facing inward to block incoming high attacks to the jodan (upper body) level. Performed from zenkutsu-dachi, it involves pulling the non-blocking hand back to the hip while the blocking arm extends, forming a chambered fist at the end; the motion comprises five coordinated steps, including chambering, rising, and stabilization, to ensure precise deflection. This block effectively counters overhead strikes like hooks by sweeping the attack aside, and in close-quarters applications, it can transition into a strike targeting the triceps or the jaw-neck junction for counteroffensive potential. Executed with the blocking arm fully upward to cover the head area against elevated threats such as high punches or club strikes, it maintains contact with the incoming attack to guide it overhead, allowing the defender to control the opponent's momentum while preparing for a follow-up technique. This prioritizes head protection in scenarios involving taller opponents or raised weapons, enhancing reach and rigidity.^[19][20] Morote-uke, or reinforced block, augments standard blocking motions by using both hands for increased power against stronger assaults at various levels, including high. The primary blocking arm performs the uke motion while the supporting hand grips or reinforces the elbow or forearm from behind, creating a unified structure executed from zenkutsu-dachi. This double-handed approach distributes force more effectively, making it suitable for deflecting heavy impacts, and in practical bunkai (applications), it facilitates limb control or throws by securing the opponent's arm post-block.^[21]

Deflecting and middle blocks

Deflecting and middle blocks in Shotokan karate are essential techniques designed to redirect or absorb mid-level attacks, typically targeting the torso or chest area, using circular or sweeping motions of the arms to maintain balance and create openings for counters. These blocks emphasize precise timing, hip rotation, and kime (focus) to generate power, distinguishing them from higher or lower defenses by their focus on chudan (middle) threats. Performed often from forward or back stances, they employ the forearm or hand edge to deflect incoming punches or strikes without direct collision, allowing the practitioner to control the opponent's momentum.^[8] Soto-uke (Outside Forearm Block), also known as chudan soto-uke or outer forearm chest block, involves a circular motion to deflect mid-level attacks approaching from the outside. The blocking arm initiates from the side, rotating outward with the outer edge of the forearm making contact, while the opposite fist pulls back sharply to the hip for simultaneous power generation. In execution, from a natural stance, the practitioner steps into a front stance (zenkutsu-dachi), positions the blocking forearm vertically at a right angle with the elbow 1.5 fist-widths from the body, and maintains a half-facing (hanmi) posture to protect the centerline. This technique is particularly effective against straight punches to the midsection, as the circular path redirects the force while unbalancing the attacker, often setting up a reverse punch counter. The emphasis on wrist tension and elbow alignment ensures a striking impact upon deflection.^[8][22] Uchi-uke (Inside Forearm Block) employs an inward sweeping motion to counter attacks coming from the inner line toward the body's center, protecting from belt height to neck level. The forearm moves across the body in a reverse rotation, starting with the arm bent at 90 degrees and fist at the shoulder, then sweeping inward with the back of the wrist upward, rotating 90 degrees at contact so the fist faces the floor. As the blocking arm extends, the opposite arm retracts to the side, utilizing hip rotation for added force and synchronization to cover the target effectively. This block excels at deflecting inward-directed strikes, such as hooks or straight punches, by guiding them away while potentially damaging the opponent's limb through expansion and contraction dynamics. Proper elbow positioning—neither too close nor too far—prevents overextension and enhances body connection for unbalancing the attacker.^[23][22] Shuto-uke (Knife-Hand Block) utilizes the edge of the open hand in a circular, cutting path to deflect angled mid-level attacks, often to the solar plexus. From a ready position, the practitioner steps into a back stance (kokutsu-dachi), pulls the non-blocking hand to the solar plexus, and swings the knife hand downward from shoulder height with fingers tightly together and wrist straight, impacting with the outer edge at a right angle. The upper body turns sideways without leaning, maintaining stability, while the elbow bends 90 degrees during the motion. This technique not only redirects but can "cut" the opponent's arm, creating immediate opportunities for follow-up strikes like a spear hand (nukite), and is ideal for controlling distance against thrusting or hooking assaults. Emphasis on sharp wrist snap and kime ensures the block's defensive and offensive duality.^[8]

Sweeping and low blocks

Sweeping and low blocks in Shotokan karate focus on defending the lower body against attacks targeting the legs, groin, or abdomen, employing circular or direct motions to deflect, trap, or disrupt incoming strikes like low kicks or punches. These techniques prioritize stability and power generation from the hips and legs, often integrated into kata such as Heian Shodan and executed with precise timing to unbalance the opponent while maintaining defensive posture. Unlike higher blocks, they emphasize a grounded, sweeping action to clear space or seize control of the attacker's limb. Basic techniques like gedan-barai are foundational in kihon, while others like hiza-uke and ashikubi-uke are advanced applications from kata or practical scenarios. The gedan barai, or low sweeping block, utilizes the outer forearm with the palm facing downward to execute a wide, arcing sweep that clears low-level threats. Performed typically from zenkutsu-dachi, the blocking arm pulls back to the hip before extending fully to position the forearm at an angle in front of the knee, tensing the underside for impact absorption. This technique defends against kicks or punches to the lower abdomen, disrupting the attacker's momentum through its sweeping path.^[8] The uchi gedan barai, an inner variation or combination of the low sweep often paired with uchi-uke, employs the inner forearm to address close-range low threats from the inside line. It follows a similar pulling motion to the hip but directs the forearm inward in a shorter arc, suitable for deflecting attacks that approach from the practitioner's inner side, such as low hooks or leg grabs. This adaptation enhances versatility in confined spaces, allowing for quicker recovery into counterattacks.^[24] The hiza-uke, or knee block, provides a simple and direct method for lower body protection by lifting the knee sharply to intercept incoming low kicks. Executed from a stable base like fudo-dachi, the knee rises to strike or block the opponent's thigh or shin, effectively guarding the groin area without exposing the upper body. This technique is particularly useful in close-quarters scenarios where arm-based blocks may be impractical.^[25] The ashikubi-uke, or ankle hooking block, is an advanced foot technique that traps and sweeps the opponent's ankle to counter leg attacks or facilitate takedowns. Performed by hooking the foot behind the target's ankle while maintaining balance in a low stance, it combines deflection with control, pulling the leg to destabilize the attacker. This block appears in more complex kata applications, emphasizing timing and lower body coordination.^[26]

Punching techniques (Tsuki-waza)

Straight and lunge punches

Straight and lunge punches in Shotokan karate represent foundational linear thrusting techniques designed for penetrating attacks at mid-range distances, emphasizing full arm extension and coordinated body mechanics to generate power. These punches utilize the seiken (forefist) of a closed fist, targeting the chudan (mid-level) area such as the solar plexus or torso, and are executed with precise hip rotation to maximize torque while maintaining balance in stances like zenkutsu-dachi (front stance).^[27] Choku-zuki, or straight punch, is a basic stationary technique performed with the lead hand from a balanced stance, involving chambering the fist at the hip with the palm facing up before thrusting forward in a straight line. The punch achieves power through a sharp twist of the hips and shoulders, resulting in complete arm extension where the fist rotates to face down at impact, while the opposite hand pulls back to the hip in hikite position to aid stability and focus (kime). This technique prioritizes directness and speed for defensive counters, often following blocks like gedan-barai to disrupt an opponent's advance.^[27][28] Oi-zuki, known as the lunge punch, extends the range of choku-zuki by incorporating a forward step into zenkutsu-dachi, with the punching arm matching the stepping leg (e.g., right leg and right arm for migi oi-zuki). Execution begins with the rear leg driving forward to close distance, simultaneously rotating the hips to propel the seiken fist to full extension at chudan level, ensuring the back heel lifts naturally for momentum transfer. The emphasis on synchronized footwork and torso rotation generates greater force than a stationary punch, making it ideal for bridging gaps in sparring or kata applications.^[29][27] Gyaku-zuki, the reverse punch, employs the rear hand from zenkutsu-dachi, delivering a powerful cross-like thrust by fully twisting the hips and pivoting on the front foot to align the body squarely (shomen) toward the target. The punching arm chambers at the hip before exploding forward with a quarter-turn fist rotation so the palm faces down at impact (counterclockwise for right hand), supported by the pulling action of the front hand to enhance torque and balance, culminating in kime at the moment of impact on the chudan area. This core technique leverages whole-body involvement for maximum penetrating power in close-quarters combat, distinguishing it through its emphasis on rotational dynamics over linear stepping.^[30][27]

Reverse and close-range punches

Reverse and close-range punches in Shotokan karate focus on rapid, alternating strikes and infighting applications at short distances, allowing practitioners to maintain control and set up follow-up attacks in dynamic exchanges. These techniques prioritize speed, minimal body commitment, and adaptability in confined spaces, distinguishing them from longer-range linear punches by emphasizing precision and opponent disruption over maximum power generation. They are integral to kumite (sparring) and bunkai (kata applications), where quick transitions between lead and rear hands facilitate combinations that exploit openings in an adversary's guard.^[31] Kizami-zuki is a jab-like punch executed with the lead hand, delivering a quick, straight thrust that snaps forward without full hip rotation or weight transfer. This technique generates speed through arm extension and wrist snap, targeting the face or midsection to gauge distance, disrupt balance, or create openings for subsequent strikes, all while keeping the practitioner balanced and ready for defense. Its non-committal nature makes it ideal for setups in combinations, as the retracted hand returns swiftly to guard position. In practice, it is often performed from zenkutsu-dachi (front stance) or during footwork adjustments, enhancing timing and feinting capabilities in sparring.^[32] Tsukami-zuki, known as the grabbing punch, is a close-quarters technique often derived from bunkai in kata such as Bassai Dai, involving a strike where the fist impacts the target and then twists to seize clothing, the arm, or the neck for control. Performed typically from a clinched position or after a block, it combines percussive force with a follow-through grip, enabling joint manipulation or throws. The technique demands precise timing and grip strength, targeting vulnerable areas such as the throat or collar to neutralize an opponent's mobility in infighting scenarios. It underscores Shotokan's emphasis on practical self-defense transitions from strike to restraint.^[33] Ura-zuki serves as a short-range uppercut or inverted punch, propelled vertically from the rear hand with the palm facing upward and the back of the fist or knuckles striking the chin, solar plexus, or under the jaw. Executed in tight spaces like neko-ashi-dachi (cat stance), it relies on elbow drive and torso torque for explosive power without extensive reach, making it effective against taller opponents or when evading linear defenses. The inverted orientation adds unpredictability, as the motion arcs slightly to bypass guards, and it is commonly trained in paired drills to develop close-combat reflexes and accuracy. Proper form prevents wrist strain by maintaining alignment through the elbow and shoulder.^[34]

Hook and uppercut punches

In Shotokan karate, hook and uppercut punches represent curved and ascending variations of tsuki-waza (punching techniques), designed to exploit angular approaches and bypass linear defenses. These methods emphasize rotational hip torque and precise body mechanics to generate power from non-linear paths, distinguishing them from straight punches by their ability to target vulnerable areas like the sides or underside of the opponent. They are integral to kata such as Heian Godan and Jion, where they simulate close-quarters combat scenarios, and are trained for both self-defense and kumite applications.^[35] The kagi-zuki, or hook punch, involves a horizontal arc delivered with a sharply bent arm, mimicking a boxing hook but adapted for karate's emphasis on ippon-ken (one-knuckle focus) or seiken (fore-fist) impact. Execution begins from a zenkutsu-dachi (front stance) or natural stance, with the elbow bent at approximately 90 degrees and kept close to the body; the fist swings laterally as the hips twist sharply, rotating the shoulder for acceleration, while the opposite hand chambers at the hip for balance. The strike lands with the last two knuckles facing downward, targeting the side of the head (jodan level) or ribs (chudan level), often in tight spaces where straight punches are ineffective. This technique generates force through the whipping action of the torso, creating distance or disrupting an opponent's guard, though it requires precise timing to avoid counterexposure.^[36][35] Mawashi-zuki, known as the roundhouse punch, employs a broader circling motion to wrap around blocks or reach evasive targets, executed with the arm arcing outward before hooking inward. From a kiba-dachi (horse-riding stance) or zenkutsu-dachi, the practitioner pivots on the rear foot, extends the punching arm with a bent elbow, and rotates the hips fully while pulling the non-punching hand to the hip, striking with the seiken (forefist), the first two knuckles facing the target with palm down. It primarily aims at the temple or side of the head at jodan level, or the body at chudan, leveraging the full-body turn for enhanced torque and reach beyond linear range. Integrated with horse stances for rotational power, this punch excels in counters during kumite, promoting coordination and speed through repetitive drill practice.^[37][35] Age-tsuki, or rising punch (also called uppercut), drives vertically upward from a low chamber to penetrate under raised guards, starting as a modified gyaku-zuki (reverse punch) that transitions into a tate-zuki (vertical fist) orientation. Performed typically with the rear hand from zenkutsu-dachi, the motion initiates at waist level, explodes upward via explosive hip thrust and leg drive from a semi-crouched position, using a vertical fist where the palm faces the body, striking with the index and middle knuckles. It targets the jaw, chin, or solar plexus, capitalizing on the upward trajectory for surprise and elevation in close-range exchanges, as seen in the Enpi kata. Power derives from synchronized lower-body propulsion, making it versatile for preemptive strikes, though mastery demands fluid upper-lower body harmony to mitigate injury risk from the high-speed ascent.^[38][35][39]

Striking techniques (Uchi-waza)

Hand and fist strikes

Hand and fist strikes in Shotokan karate encompass a variety of open-hand and alternative fist techniques designed for slashing, chopping, or hammering impacts, emphasizing precision and power generation through hip rotation and kime (focus). These methods differ from standard punches by utilizing different parts of the hand or fist for targeted disruption, often employed in kata and kumite to exploit vulnerabilities in an opponent's guard. Performed from forward stances like zenkutsu-dachi, they generate whip-like speed and force for effective delivery.^[40] Shuto-uchi, or knife-hand strike, involves forming an open hand with fingers extended and together, thumb folded across the palm, and striking with the edge opposite the thumb in a sharp chopping motion. The technique targets the neck or collarbone to disrupt balance or cause stunning effects, executed by swinging the arm from the shoulder while rotating the hips for added power. Variations include mawashi shuto-uchi, a circular strike with the palm facing up or down, commonly seen in kata like Heian shodan.^[41] Tettsui-uchi, known as the hammer-fist strike, uses a clenched fist similar to seiken but impacts with the bottom surface, delivering a vertical or downward smash motion from an overhead chamber. It is particularly effective for blows to the skull or collarbone, generating force through a snapping forearm action while maintaining wrist alignment to avoid injury. This technique appears in foundational kata such as Heian shodan and Bassai dai, often as a single or double strike (tettsui hasami-uchi) for amplified impact.^[41] Uraken-uchi, the back-fist strike, employs the back of the fist—specifically the knuckles of the index and middle fingers—in a whipping horizontal arc, often as a quick reversal from a blocking position. It targets the head or facial area for rapid counterattacks, with the arm snapping outward from a chambered position near the chest before retracting sharply. Featured in kata like Heian sandan and Kanku dai, it enhances versatility in close-range exchanges by combining offense with defensive transitions.^[41] Haito-uchi, or ridge-hand strike, utilizes the inner edge of the open hand—from the base of the index finger to the first joint of the thumb—in a whipping arc motion, contrasting the outer edge used in shuto-uchi. This strike aims at the ribs, throat, or soft tissues of the neck to inflict penetrating damage, executed with a full arm swing and hip drive for momentum. It is integrated into advanced kata such as Jitte and Unsu, highlighting its role in flowing combinations.^[41] Teisho-uchi, the palm heel strike, uses the heel of the open palm to deliver a thrusting or pushing impact, with fingers extended upward and relaxed. It targets the chin, nose, or solar plexus to stun or disrupt breathing, executed by driving the palm forward from a chambered position with hip rotation for penetrating force. This technique is common in basic drills and appears in kata like Heian nidan and Tekki shodan, valued for its simplicity and effectiveness in close-range self-defense.^[40][41]

Elbow strikes

Elbow strikes, known as empi-uchi in Japanese, are essential short-range techniques in Shotokan karate, leveraging the body's natural leverage for powerful impacts in close-quarters combat. These strikes utilize the elbow's bony structure to target vulnerable areas, often following blocks or punches to disrupt an opponent's balance or defense. Performed with hip rotation and full body commitment, they emphasize speed and precision over distance, making them ideal for infighting scenarios where punches may be less effective.^[42] The mae-empi-uchi, or front elbow strike, involves thrusting the elbow forward in a straight line, typically from a close stance, with the striking arm chambered at the hip before extension. It targets the opponent's chin, chest, or solar plexus, generating force through torso twist and shoulder drive to penetrate defenses at mid-range. This technique is commonly practiced in basic kihon drills and appears in kata like Heian Shodan for developing thrusting power.^[43][44] In contrast, the yoko-empi-uchi, or side elbow strike, employs a horizontal swing of the elbow, often stepping laterally to align the body for maximum torque via hip rotation. Aimed at the temple, ribs, or jaw, it delivers a whipping motion that exploits side vulnerabilities, particularly effective against flanking attacks or to clear space in clinches. Shotokan practitioners refine this through repeated execution from shizentai (natural stance) to ensure balance and follow-through.^[42][43] The ushiro-empi-uchi, or rear elbow strike, swings the elbow backward in a pivoting arc, usually in response to rear threats, with the non-striking hand pulling to the opposite hip for counter-rotation. It targets the face, midsection, or groin of an assailant from behind, such as during a grab escape, relying on spinal twist for explosive power. This defensive maneuver is integral to Shotokan's emphasis on 360-degree awareness and is demonstrated in advanced kumite applications.^[42][43] For upward engagements, the age-empi-uchi, or rising elbow strike, drives the elbow vertically from a low chamber, often dropping the body slightly for leverage before ascending. It strikes under the chin or to the jaw, disrupting posture with an uppercut-like trajectory powered by leg drive and shoulder elevation. Commonly integrated into combinations following low blocks, this technique builds explosive upward force essential for countering taller opponents in Shotokan training.^[42][43] Finally, the otoshi-empi-uchi, or dropping elbow strike, smashes downward with the elbow from an overhead position, utilizing gravity and arm descent for crushing impact. Targeted at the collarbone, head, or shoulder in clinched or grounded positions, it requires wrist alignment and body weight shift to maximize penetration. This variant enhances Shotokan's versatility in varied ranges, often practiced in paired drills to simulate real-world pressure.^[43][45] These elbow strikes often combine with close-range punches to form fluid sequences, amplifying offensive flow in dynamic exchanges.^[46]

Knee strikes

Knee strikes in Shotokan karate, known as hiza-geri or hiza-ate, are essential close-range smashing techniques (ate-waza) designed for disrupting an opponent's balance and targeting vital areas during clinches or grapples. These methods emphasize explosive power generated from the hips and core, delivered without full leg extension to maintain stability and control. Unlike extended kicks, knee strikes prioritize blunt, disruptive impact over reach, making them ideal for self-defense scenarios where space is limited. They are often integrated into combinations following blocks or grabs, enhancing their utility in dynamic kumite.^[40][47] Hiza-geri, the front knee strike, is executed by thrusting the knee upward in a snapping motion while grabbing or clinching the opponent for leverage. This technique delivers a sharp, penetrating blow to the groin, abdomen, or torso, aiming to incapacitate through pain and shock to soft tissues. It requires precise hip rotation for maximum force, often performed from a stable base like zenkutsu-dachi to avoid counterattacks. In practice, it counters forward pressure by exploiting close proximity.^[48][49] Hiza-ate, the knee smash, represents a blunt, non-extended impact delivered by driving the knee forward or upward in a hammering fashion for clinch dominance. It targets broader areas like the midsection without pinpoint accuracy, relying on raw power to stagger or control the opponent. Performed with minimal retraction for speed, it integrates seamlessly into grappling exchanges, often following an elbow strike for compounded effect.^[40][50]

Kicking techniques (Geri-waza)

Front and roundhouse kicks

Front and roundhouse kicks in Shotokan karate emphasize linear and circular leg motions to deliver penetrating strikes from forward or arcing trajectories, targeting midsection to head levels for offensive disruption. These techniques prioritize hip rotation, knee lift, and rapid retraction to generate speed and power while maintaining balance. They are fundamental in kihon (basics), kata (forms), and kumite (sparring), often executed from stances like zenkutsu-dachi.^[8] Mae-geri keage, the front snap kick, involves lifting the knee high with the thigh parallel to the floor, then snapping the leg forward using the ball of the foot (koshi) as the striking surface, followed by a quick retraction along the same path in a 3:7 ratio of extension to pull-back. This creates a whipping motion for speed rather than deep penetration, targeting the stomach, solar plexus, or face (jodan level) to stun or create distance. The supporting leg remains firm with a slight knee bend, and the kick is typically performed from heisoku-dachi or zenkutsu-dachi, emphasizing explosive hip thrust and precise control to avoid overcommitment.^[8] Mae-geri kekomi, the front thrust kick, differs by fully extending the leg with penetrating force using the heel or ball of the foot, driving deeply into the target before retracting straight back. It focuses on stability with hips squared and the supporting foot planted, delivering power to the midsection such as the groin or solar plexus for maximum impact and disruption. Executed primarily from zenkutsu-dachi, this variation builds on keage by adding linear drive, suitable for close-range counters where retraction speed prevents counters.^[8] Mawashi-geri, the roundhouse kick, arcs the leg in a semi-circular path after raising the knee to hip height, striking with the ball of the foot (koshi), instep, or shin in a snapping motion parallel to the floor. Hip rotation generates the circular trajectory, targeting ribs, chest, or head for side-angle attacks that are harder to block. Performed as keage for snap or kekomi for thrust, it is delivered from various stances like kokutsu-dachi, with the supporting foot pivoting to align the body.^[51] Ura-mawashi-geri, the reverse roundhouse or hook kick, reverses the arc of mawashi-geri by rotating the hip backward, striking inward with the heel (kakato) or top of the foot (haisoku) in a hooking motion. Ura-mawashi-geri, an advanced variation introduced by Masatoshi Nakayama, is more commonly used in kumite demonstrations than in basic training. This allows surprise attacks to inner targets like the groin, thigh, or side of the abdomen, exploiting gaps in defenses. The knee lifts initially as in a front kick before curving reversely, requiring advanced balance and coordination, often from zenkutsu-dachi for closer-range deception.^[52][53] These kicks can be countered by low blocks such as gedan barai, which sweeps the leg away to disrupt the trajectory.^[8]

Side and back kicks

Side and back kicks in Shotokan karate emphasize linear, perpendicular, and rearward attacks, leveraging the body's full extension for maximum power while maintaining balance through stances like kiba-dachi (horse stance). These techniques are designed for direct strikes to the side or behind the practitioner, often used in counters or to target vulnerable areas such as the ribs, kidneys, or head. They differ from circular kicks by focusing on straight-line trajectories, promoting stability and precision in grounded applications. Yoko-geri keage is the side snap kick, a quick retraction technique that delivers a sharp impact to the opponent's midsection. Performed from a natural stance (heiko-dachi), the practitioner lifts the knee high with the foot turned so the blade (sokuto) faces outward toward the target, then snaps the leg sideways using the side edge of the foot (sokuto) as the striking surface, targeting the groin or ribs. The motion involves driving the hip forward while pushing off the supporting leg, followed by a vigorous pull-back to chamber the knee, ensuring speed over penetration. This kick is introduced at 7th/6th kyu levels and emphasizes retraction for rapid recovery.^[54] Yoko-geri kekomi, the side thrust kick, contrasts with the snap version by providing deeper penetration for greater destructive force, often aimed at the ribs or solar plexus. From heiko-dachi, the knee chambers high with the ankle twisted so the outside edge faces down, then the leg thrusts fully extended with the heel or outside edge as the striking surface, incorporating body weight and a slight pause at full extension before retracting strongly. The technique relies on hip rotation and full leg commitment, making it a staple for powerful lateral attacks in Shotokan training from 7th/6th kyu, with stepping variations added later.^[54] Ushiro-geri, known as the back kick, is a thrusting counter directed rearward, ideal for defending against attacks from behind by mimicking a mule's powerful expulsion. The execution begins by lifting the kicking foot to the back of the supporting knee, pivoting 180 degrees on the ball of the support foot, then driving the heel horizontally into the target such as the abdomen or kidneys, with the heel as the primary striking surface. This technique prioritizes explosive hip torque and balance to maintain accuracy despite the blind direction, and it is a core element in Shotokan kihon for developing rear awareness.^[55] Kakato-geri, the heel drop kick, delivers a downward strike from a side chamber, suited for stomping or high-impact targets like the collarbone or head. The practitioner raises the knee to the side in a manner similar to yoko-geri, then drops the heel vertically using it as the striking surface, often from kiba-dachi for lateral stability. This technique focuses on gravitational force combined with controlled descent, making it effective for breaking through guards in close-range scenarios within Shotokan practice.^[56]

Sweeping and jumping kicks

Sweeping and jumping kicks in Shotokan karate emphasize disruption of an opponent's balance through low-level sweeps or enhanced power via aerial elevation, often setting up follow-up throws or strikes. These techniques require precise timing and body control, typically executed from mobile stances such as neko-ashi-dachi to facilitate quick initiation. They differ from standard standing kicks by incorporating sweeping motions or jumps to cover greater distance or target evasive positions. Ashi-barai (foot sweep) is a fundamental sweeping technique that uses the instep of the foot to hook and unbalance the opponent's supporting leg, often as a setup for a throw or takedown. Performed by sweeping the leg low across the ground while maintaining a stable base, it targets the ankle or calf to disrupt equilibrium without high commitment. This move is commonly integrated into kumite to create openings, relying on kuzushi (off-balancing) principles central to Shotokan.^[57][58] Fumikomi-geri (stomp kick) delivers a downward heel stamp to crush the opponent's foot, instep, or knee, generating power through full body weight transfer. Executed by lifting the knee high and driving the heel forcefully into the target, it serves as a close-range debilitating strike that can immobilize the leg. In Shotokan practice, this technique is valued for its simplicity and effectiveness in trapping scenarios, often following a block or grab.^[59][25] Tobi-mae-geri (jumping front kick) is an aerial thrust that propels the practitioner forward with a jump, doubling the reach and impact of a standard front kick. The jumper drives the ball of the foot or toes into the midsection or higher targets, using momentum from the leap to amplify force. This advanced variation excels against retreating opponents, enhancing power generation through combined linear and vertical motion in Shotokan kumite.^[60][61] Tobi-yoko-geri (jumping side kick) involves a leaping side thrust, where the practitioner jumps laterally to strike with the heel or blade of the foot at high or distant targets. The technique builds on the stationary yoko-geri by adding elevation and forward drive, allowing attacks on elevated or evasive foes while maintaining balance mid-air. In Shotokan, it demonstrates superior athleticism and is used to counter side-stepping defenses.^[60][61] Hiza-geri (knee kick) is a short-range upward knee lift executed in close quarters, thrusting the knee into the opponent's groin, abdomen, or head to disrupt or incapacitate. Distinct as a dynamic leg technique during movement, it leverages hip rotation and rising motion for explosive delivery, often in clinches or after a pull-in. Shotokan emphasizes its role in infighting, where it functions as a rapid counter to maintain pressure.^[48][62]