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RAY RYAN RAYMOND EDWARD RYAN Born 1 July 1936 Johannesburg – South Africa Died 13th November 1989 – Durban - South Africa Ray started his karate training with Shukokai where he teamed up with Richard Salmon. In 1963 Richard Salmon and Ray Ryan opened a dojo in Sarnia, Durban which was called Budokan. They acquired a piece of land in Westville, South Africa and with the help of their students built a dojo there which was the first Budokan Honbu. In 1965/66, Hanshi Chojiro Tani, came to South Africa and many of the Budokan karateka had the great fortune to be trained by him. His visit was followed by Seiichi Fugiwara, Chief Instructor of the WKU Teaching Department (Gōjū-ryū) and later also Shigeru Kimura Shukokai Hombu dojo. Richard Salmon was graded to Sandan in Shukokai Karate by Chojiro Tani. In 1967 Richard Salmon Ray Ryan went to Japan where they trained at Gōgen Yamaguchi karate-dō dojo in Nippori, Tokyo Japan. In the photo below Richard Salmon and Ray Ryan are seen with Chojiro Tani (far left kneeling), Gosen Yamaguchi (centre kneeling), Gosei Yamaguchi (far right kneeling) and Goshi Yamaguchi (far right standing). In 1969 Ray Ryan took over Budokan as Richard Salmon had left to start his Mountain Leadership School. In 1970 Budokan was introduced into England by Daivid Passmore. In 1974 Ray Ryan and several of the Budokan senior karateka were invited by Gogen Yamaguchi to train at his new dojo at the Gōjū-kai Headquarters in Suginami-ku, Tokyo, Japan, nearby to the busy shopping precinct of Roppongi. In 1978 Ray Ryan was Again invited by Gogen Yamaguchi to train at the Karate College started by him at Gōjū-kai Headquarters in Suginami-ku. Again, several of the senior karateka joined him on this trip. Those invited to train at the Karate college are seen here pictured with Gogen Hamaguchi (seated centre front) and Wakako Yamaguchi (second left rear). On the 1978 trip Budokan karateka also had the great fortune to train with Chojiro Tani. He is kneeling centre front. In 1979 Chojiro Tani and Shigeru Kimura returned to South Africa and the members of Budokan were once again invited to train with them. This was arranged by Edwin Ward of Shukukai and took place at Radio House in Durban.

ABOUT WE BELIEVE TRAINING SHOULD ALWAYS TAKE PLACE WITH QUALIFIED INSTRUCTION IN A DOJO. STUDY AND LEARNING NOW ALSO TAKES PLACE ONLINE - 24/7 - LEADING TO MORE TRAINING AT HOME. BOTH WORK BRILLIANTLY TOGETHER. Our organisation is made up of people with a wealth of Japanese Budo experience in various countries over many, many years. We all believe that people involved in traditional Japanese Budo deserve to be given the opportunity to have access to some of the best teachers available across all disciplines in the form of Dojo Leaders who have become part of our Dojo Community and other teacheers who have associated themselves with us. We operate a policy of inclusivity - we wish for your involvement in what we are doing. We respect the autonomy of all Dojo and their Teachers, Instructors and Dojo Leaders. We only serves to associate ourselves and all that we have to offer with those who wish to be associated with us. THE SHIHANKAI All activities within Budokan are managed and operated by its Shihankai. A small group of experienced people tasked with ensuring that the technical, educational and organisational standards set by Budokan in all of its operations and entitlements - see below - continue to be at the forefront of its thinking and planning now and for the future of Budokan. BUDOKAN MEMBER ENTITLEMENTS Username and Password access to the of www.budokanworld.com so that you can browse the entire content of the Budokan Library in words, pictures and video being taught covering each of the current disciplines on display, Karatedo, Aikido and Iaido, including the Practice of Zen. Listing on the Black Belt Register* Dan Grade Rank and Title Accreditation and Certification * If you run a Dojo you are entitled to inclusion in the Dojo pages section on the website, with technical and practical information, events, gradings and news content provided by you about your Dojo and your students. Access to our Online Programmes Practical Selfe Defence for Women Teach Yourself Practical Meditation The use of the Budokan Mon - (optional) Attendance at Traditional Japanese Budo National and International Events, Seminars and Workshops hosted by Budokan that will include Karatedo, Aikido, Iaido, Zen (Meditation), Kendo, Jiu Jutsu and Kodokan Judo and Kobudo. Virtual meetings of Sensei and Dojo Leaders to improve dialogue within Japanese Budo for the benefit of all hosted by Budokan. Our Teaching Methods and our Philosophy. Registration and recognition of Dan Grades and Titles by Dai Nippon Butokukai in Kyoto, Japan upon recommendation by Budokan. (There is a separate charge for this from DNBK) * subject to recommendation and approval. If you have any queries please send them to us at this address - david@budokanworld.com . For more information please click on any of the Headings below: ACCREDITATION CERTIFICATION GENERAL MEMBERSHIP INFORMATION Come and join us. You will be made very welcome

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BUDOKAN BUDO RESEARCH Here we will publish schoLarly articles and academic papers from Aikido to Zen in all things Traditional Japanese Budo, that we hope will be of interest to both teacher and student alike. All articles and papers will first appear on the Homepage from 2 - 4 weeks. After that they will be posted on this page under the name of the discipline or context. When a single discipline reaches 12 or more articles or papers it will be given its own page. Just click on any of the links below to read more. (NB The views of the authors depicted in these articles and papers listed are for information purposes only) Kindly support the work we are doing by using the DONATE button below. AIKIDO JUJITSU BIOGRAPHY OF MORIHEI UESHIBA REDISCOVERING AIKIDO AIKIDO - A TOOL FOR LIVING AIKIDO AS SPIRITUAL PRACTICE IN US AIKIDO AND THE I A F KARATEDO A SHORT HISTORY OF KARATE INTENTIONALITY IN SHOTOKAN KARATE BUDO KATA - THE TRUE ESSENCE OF BUDO THE JAPANISATION OF KARATE LEG TECHNIQUES IN KARATE KARATE TALK IN A CANADIAN DOJO EASTERN MYSTICISM IN BUDO BUSHIDO A PHD SUBMISSION ON BUSHIDO KENDO THE CONCEPT OF KI IN KENDO IAIDO THE SWORDSMITHS OF JAPAN THE ALMOST FORGOTTEN LINEAGE NAKAYAMA HAKUDO KYUDO HISTORY OF KYUDO AND IAIDO IN EARLY JAPAN JUDO JIGORO KANO UTOPIA THE WAY OF KATA IN KODOKAN JUDO ZEN A BRIEF HISTORY OF ZEN ZEN, HEALTH & WELLBEING A JAPANESE GLOSSARY FOR KARATE STUDENTS First they published A Short History of Karate. Now Michael Cowie and Robert Dyson are soon to publish another little gem this year. Budokan has been given a glimpse of their work and you can too by clicking on the image below. And its not that little either! Enjoy. MISCELLANEOUS THE JAPANESE PURSUIT OF PERFORMATIVE MASTERY INTERESTING FACTS ON HISTORY OF MARTIAL ARTS SUMO - ANCIENT RITUAL TO THUNDER GOD TEA CULTURE OF JAPAN & CHINA MUSA CHUGYO - THE WARRIOR PILGRAMAGE BUFFER

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THE ART OF KARATE KATA Aesthetics and Power Kata in Japanese simply means form and their origin can be traced back to the relationship between China and Okinawa, during the early years of trading between the two countries. Performing and practicing Kata requires the complete immersion into body, mind and spirit - as all three have to be present in embu or performance, or the essence of what kata is all about, is lost. It is the combination of a range of body movements in a variety of different directions, made up of individual techniques that become progressively more flowing, appearing effortless to the untrained eye. They include simple hand and arm movements at first until balance is achieved based upon the use of correct stances. Being in the correct stance at every moment of any kata is THE principal requirement of balance and movement from one stance to the other. Without this element in place at every turn, the very foundation of each form is absent. And by stance is meant to be not only the height and length of each one that is done - which is critical - but the relationship of one foot to the other and the angles they are placed in to achive stability in the landing and lightness of touch and bounce in preparation for the next move. A good kata practitioner will eliminate all uneccessary footwork as a basic requisite for fluidity and the smooth flow of movement. A relaxed and not stiff upright posture is critical to this flow. Eyes level - chin tucked in just enough - head balancd on the torso - shoulders level at all times - chest slightly raised - lower back hollow - allowing movment reminiscent of a matador. At an appropriate point - once balance has been achieved on two feet - kicking techniques are incorporated and take time to master in the flow of a kata as balancing moves onto one leg. The key skill here being how to return the foot to the floor and keeping the flow of the kata alive. And then the kata comes ito its own as a "dance" (the term in this context is of Chinese origin), made up of a designated number of moves, which have been handed down over time. Kime is a commonly used Japanese martial arts term, meaning "power" and/or "focus," describing the instantaneous tensing at the correct moment during a technique, where a momentary stillness is observed. It is the timing of moments like this that "make" any Kata. It is here where power and control merge and if you lose the latter, the kata disintegrates into a shambles as too much power on poor stances distorts the shape of each and every movement. It is the biggest mistake that Karateka in general make when performing kata - for in the Embu or performance, the expression of power must be contained so as to maximise the aeshthetic appeal of the Kata. The combination of this seemingly effortless flow of movement along with perfect timing and pause, creates a series of sequences which tell the "story" to be found in each kata, interspersed with moments of immense power. It can only be described as breathtakingly awesome to behold and beautiful to watch, as this explosive form of ballet appeals aesthetically as the Art of Karate Kata. Practitioners of karate kata read the various sequences and turn them into practice drills called Bunkai - the practical application of various techniques with a partner or partners - which naturally leads on to the various forms of Kumite - or sparring. But first there is the Art of the Kata to master. David Passmore Kyoshi 2008

DOJO LEADERS : Sensei Kim Heaton (4th Dan) – Pinetown – Westville and Bluff KZN - kim.heaton@mweb.co.za Sensei Tracy Staples (3rd Dan) – Kloof – Winston Park – Waterfall Area KZN - t.staples@telkomsa.net Sensei Joos Huyzers (3rd Dan) – Kempton Park, Johannesburg - jooshuyzers@gmail.com Sensei Eden Jackson (2nd Dan) – Scottsburgh and Umzinto Area KZN - eden@ubtex.co.za BUDO KARATE-DO SA Traditional Shito-ryu Karate Kelvin Daniels (6th Dan) started his karate in 1967 under the instruction of the late Sensei Vic Sykes. Following many years of training under some of the top karate instructors, Sensei Shigeru Kimura, Sensei Tekeshi Masuyama and Sensei Keiji Tomiyama to name just a few, he has come full circle back to his Budokan roots and has the great honour of continuing his training directly under Doshu Richard Salmon. info@highwaykarate.co.za The following is a breakdown of the karate classes that are available in the Upper Highway Area, Durban, Kwazulu Natal: Highbury Preparatory School in Hillcrest, Monday and Wednesday from 5.30pm to 6.15pm for juniors and 6.15pm to 7.15pm for seniors. Forest View Primary School in Waterfall/Forest Hills, Tuesday and Thursday from 5.30pm to 6.15pm for juniors and 6.15pm to 7.15pm for seniors. Budo Karate-do S.A. teaches traditional Shito-ryu karate and places great value on the numerous kata and their Bunkai that have been passed down over the years. Dojos are friendly and offer instruction at all levels and ages as well as hosting style tournaments during the year for students to participate in a friendly environment. Each year the style offers students the opportunity to take part in an All Grades Gashku, normally a two day event. In addition, Brown and Black Belts have the privilege of attending a long weekend training seminar (gashku) at a beach camp ending with grading. .. Trophy winners with Sensei Daniels 2020 ANNUAL GRADINGS COVID STYLE Unlike previous years, 2020 has given us many new challenges and none more so than keeping our students moving forward and grading them during Covid-19 lockdown. In the past our Brown and Black Belts were graded over a long weekend held at a beach resort (TO Strand) on the Kwazulu Natal South Coast. Unfortunately with Covid-19 infections on the increase together with the required protocols we had to down scale this year's senior grading and have it integrated into the same day as the lower grades grading. In my opinion, under the circumstance this was going to be as good as it gets with Doshu coming through and joining us for the day. Sadly because of the spike in covid infections Doshu and I felt that it had become far too risky for him to attend. In the same tone one of our sensei from Guateng who was due to fly down to attend also had to withdraw from his grading. We started in the morning with our brown and black belt grading which was run over three hours behind closed doors. Much to the disappointment for our grading candidates certain aspects of the grading had to be dropped because of the ruling around social distancing. This meant that we couldn't do bag/impact work, Hokai Kumite, Ippon Kumite or Ju Kumite. The main focus of the grading was turned towards Kihon, Combinations and Kata. At the end of the grading parents were eventually allowed in to attend the awarding of the grades. Overall and considering the long period of lockdown earlier this year the standard was good. It would seem that the Zoom Classes that had taken the place of normal training classes had worked. In the afternoon we ran a further two sessions splitting the white, yellow and orange belts into the first session and the green, blue and purple belts into the final session of the day. Most of the candidates grading were our youngsters who in a normal year would have graded in June. The excitement for them to be eventually grading was very evident and in most, the standard was way higher than I expected. Although the circumstances for the grading changed on a daily basis building up to the grading with even the possibility of cancellation , ultimately I believe that the day was a great success considering. Very good social distancing!

HISTORY OF KORYU JUJITSU A LITTLE MARTIAL ARTS HISTORY The fierceness of the Japanese warrior and his fighting arts have fascinated Westerners since the West came into contact with THEM more than 450 years ago. However it was not until the late nineteenth and early twentieth centuries that Westerners actually started to practice any of the Japanese martial arts. JUJITSU was one of the first, perhaps even the very first-of these Arts to be taught in the West and it was not long before Kano Jigoro's new Art and Sport of JUDO begun rapidly to gain popularity in Japan and a number of JUJITSU practitioners, encouraged by their instructors, changed over to Kano's JUDO, which although based on older jujitsu schools basic methods was considered at the time a more "scientifically structured system". At the same time, other Western JUJITSU dojo's went their own way, incorporating Western ideas into their systems, and thus laying the foundations for some of the modern jujitsu styles seen today. Even some of the oldest dojo's in Europe were forced to change over to the more modern and popular judo, just to survive. This is what also happened to our Kodokwan dojo here in Zambia, which was formed in 1928. At the time of its formation it was the only dojo that practiced JUJITSU and then around the early 1940s our Kodokwan began to include formal judo practice in its dojo. The traditional SAMURAI JUJITSU schools of old taught not merely a defensive art, but the curricula comprised a very comprehensive range of tactics, equipping exponents to face a great variety of situations. This is in sharp contrast to the techniques used in modern day JUDO competitions, for example classical jujitsu techniques were not designed to score points, but to be effective for increasing one's chance of survival, allowing an opponent minimal opportunity to counterattack. The throws were applied in such a way that the combatant could break one or more limbs of an opponent before throwing him, usually after the opponent had been attacked with atemi or body strikes. When the opponent was flying through the air, he was suddenly jerked down in such a way that under optimal circumstances he would break his neck, or at least seriously injure his spine. There was no space for any mistake on the battle field when facing off an opponent engaged in COMBAT JUJITSU and there were no rules or prohibited techniques in battle. Samurai on the battle field engaged in "Yori Kumi-Uchi" [grappling] dressed in armor, required super-quick reflexes and the utmost self-confidence in their technique."Zanshin" was at its peak in this situation of survival, for even the slightest mistake, an off balanced posture or loss of concentration could result in death. Using Yori Kumi-Uchi was essential to effective grappling in armor, for through this the warrior developed the balance, leverage, and mobility with which both to preserve his position allowing him to then use Atemi or Kansetsu-waza to break a limb and throw his enemy to the ground, then draw his short blade and plunge it into his adversary. A special blade, "Yori-doshi", was worn on the right hip for this purpose. For obvious reasons these techniques are prohibited in the modern day sport of JUDO and even in modern JUJITSU. In JUDO, where the safety of one's partner in training or competition is a most important issue, throws such as "Ippon-seoi-nage"[one arm shoulder throw], are applied with the arm of Uke [recipient of the force) in the Junte position, for greater safety. An important characteristic of classical jujitsu is precisely that many throws are initiated with uke's arm in gyakute position . There are also some types of throws in CLASSICAL JUJITSU in which both of Uke's arms are locked in Gyakute position, making ot much more dangerous as it makes Ukemi, [defensive measures, like break-falling] more difficult, in fact when the techniques is executed correctly , ukemi becomes nearly impossible. Since the CLASSICAL MARTIAL ARTIST was not protected by rules in combat, he needed very thorough knowledge of escaping and using Ukemi to survive throws that were applied with the intention of maiming rather than scoring a point. However, one has to realize that when a throw is executed correctly, with the intention and speed to maim or even kill, Ukemi cam be very difficult. Therefore, if possible it was better to escape using many different techniques, just before being thrown, with some of these techniques being of a very extreme nature, even being prepared to sacrifice a hand or elbow or dislocate a shoulder, just to get away from being thrown, not like SPORT JUDO, where being thrown just means losing a point. Needless to say some JUJITAU RYUHA came to specialize in equipping exponents to escape throws just before the actions were initiated. In TRADITIONAL JUJITSU there was no such thing as a "prohibited move", Tactics that could be employed included were and are, - grappling (kumi) ,throw (nage), plus techniques for limiting the negative effect of a throw, restraint (osae), locking the joints(kansetsu-waza), chocking (shime- waza), attacking the vital points of the body (kyusho-waza), body strikes (atemi ), kicking (keri), thrusting (tsuki), and hitting (uchi)- I have had the honour and privilege of watching these Koryu-Ryha Sensei demonstrate their JUJITSU in Kyoto City , at the Kyoto-shi Koryu Bujitsu Enbukai [THE Kyoto City Traditional Martial Arts Demonstration Meeting), where various Koryu Bujitsu schools from all over Japan gather to demonstrate their skills. It is truly amazing to watch these old JUJITSU SENSEI throw each around, and doing ukemi on the hard pine wood floors, without Tatami mats! I even had the rare opportunity to train for a while under Sensei Arao 5th dan, of Tondabayashi, Osaka City, who at the time was over 60 years of age. SENSEI ARAO is a BUDO MASTER IN TOMIKI AIKIDO AND DAITO-RYU JUJITSU where he practiced at the Tennoji Aikikan in down town Osaka. Finally I would at this time like to also thank all the Sensei, Senpai and Kohai in Takatsuki-shi, Tondabayashi-shi Shimin Taiku-kan Budo Dojo in Osaka, for putting up with this "Zambian kara hen na no Gaijin" (strange foreigner from Zambia) for all those years. (c) Jonathan Kruger 22011 - Shihan Kodokwan Judo Jujitsu Zambia

LYMINGTON LYMINGTON HEALTH & LEISURE NORTH STREET LYMINGTON SO41 8ZG WEDNESDAYS AND FRIDAYS AT 7.30 PM BEGINNERS AND VISITORS WELCOME Classes are held in a vibrant atmosphere where students benefit from some of the highest quality tuition available in the UK today. Disciplines BUDOKAN KARATE - SHUKUKAIRYU BUDOKAN AIKIDO - TRADITIONAL BUDOKAN IAIDO - MUSOSHINDENRYU ZEN - SOTO Technical Director DAVID PASSMORE 7 DAN KYOSHI Chief Instructor MIKE CLAPHAM 5 DAN SHIHAN Dojo Leaders TOBY MELLOWS 4 DAN SHIDOIN STEVE HEAD 3 DAN SHIDOIN PAUL FLOYD 3 DAN SHIDOIN BLACK BELT REGISTER STORY OF BUDOKAN BY DOJO MEMBERSHIP INFORMATION GRADINGS CLOTHING AND EQUIPMENT TAKE A LOOK AT SOME OF THESE VIDEO TO GET A GOOD SNAPSHOT OF WHAT BUDOKAN TEACHES AND PRACTICES IN KARATE AIKIDO IAIDO AND THE PRACTICE OF ZEN. MIKE CLAPHAM I started my training in karate in 1973 aged sixteen. The Dojo was in the basement of a hotel that overlooked the Southampton water. The style was Kyushindo which is a philosophy developed by budo master Kenshiro Abbe. My teacher was a gentleman by the name of Ray Wood senior coach for the Southampton area. After four years l was graded to black belt by Kyushindo ‘a chief instructor George Mayo. Unlike most systems Kyushindo graded you first to black belt and then shodan nidan and so on. A couple of years after receiving my black belt I was graded to Shodan. In 1982 whilst working at Fawley Power Station l opened a dojo which was well attended by some of my colleagues and their friends and family members. In 1983 l was graded to Nidan. During the next nine years l also opened a dojo in a local sports centre. In 1992 l was made redundant and became a driving instructor, due to the unsociable working hours it forced a break in my training. In 2004 l was introduced by a good freind to Kyoshi David Passmore who had recently opened a dojo at a hotel in Brockenhurst in the New Forest teaching Budokan. Due to my prolonged absence from training l was happy to don a white belt and start my new martial art journey from scratch, as not only was l re visiting Karate but Sensei was also teaching Aikido and laido, and in a separate class we started the practice of Zazen (seated meditation) which is the cement that binds our martial arts together. As the class at Brockenhurst started to expand Sensei moved to a larger premises at the Lymington sports centre. It was here that he awarded me my Shodan in 2008. Between 2011 and 2014 l attended four Open Traditional Japanese Budo workshops. Three at the university of Derby Buxton and one at Ardingly West Sussex. In 2017 as a third dan l was awarded the title of Shidoin. In December 2020 l was promoted to Godan and awarded the title of Shihan. I am currently the chief instructor of the Lymington Dojo. Darren Waghorne with Irimi Nage TRAINING VIDEOS OCTOBER 2022 Toby and Paull training in Ananko Toby training in Pinan Godan. Anyone spot the deliberate error? OUR LINEAGE Mike showing Pinan Sandan Group Pinan Sandan Mike training in Seisan Paul training in Pinan Sandan 6 RULES FOR OIZUKI CHUDAN FROM SHIZEN DACHI HEIKO Mike Clapham 5 Dan Karate The Stance - Dachi Stand with you feet together. Keeping heels together open both feet out to 45º Move both heels out square. Open both feet out again to 45º This is the Shizen Dachi Heiko stance. Starting from the waist down. First slightly splay the knees to put tension in the upper and lower leg muscles and to push the outer edges of your feet - the sokuto - into the floor using your ankles and also grip the floor with your toes. This gives your punch a strong base to support it. A strong punch without a good base will be ineffective. The Fist - Seiken You begin to do this by curling your fingers into your palm. Start with your little finger first and then finally by wrapping your thumb across the index and middle fingers tightly because when you strike you want to be able hit with the first two knuckles of these fingers. It is the little finger and the thumb that construct an ideal rock like fist that does not collapse upon impact. (If your wrist is bent slightly upward or downward this will result in a weak punch and on contact, possible damage to your wrist) The Posture - Shisei Stand upright with your shoulders relaxed, bring your arms into the ready position at your side so the fists are facing palms up and level with your solar plexus and your arms are tight to the side of your body. To prepare yourself extend your left arm out straight in front of you as if you've just punched. Your palm should be facing downward horizontally aligned with your solar plexus and vertically with the midline of your body - your spine. The Punch - Zuki This is the form that you want to replicate with every punch you make. In this position your first punch will be using the right arm positioned against your ribs in line with the solar plexus. Sightly flick your right hip in an anti-clockwise direction which is the trigger that initiates the punch. Immediately the hips move the punch follows extending your right arm in relaxed reflex action towards the outstretched left fist. The palm remains facing upward for most of its projection. As the punch is in its last 12 to 15cms you start to rotate it through 180 degrees to replace your left first which you now need to be pulling back very quickly so that both fists come to a stop at exactly the same time. The fast pulling back of the left first gives added impetus and power to the punching right fist. Breathing - Kokyu Correct breathing is vital to a strong attack and to its intention. Take a short breath into your lower abdomen before the punch and then expel the air so that your out breath and punch both stop at the same time. In the final second as your punch hits its target there should be tension from your toes up followed by immediate relaxation of the muscles whilst keeping the form of the movement. Keep your mind focussed here and get ready for the next punch. Common mistakes to be avoided: Make sure you don't rotate your fist too early. Make sure that the punch moves in a straight line from its start position to its finish position. This is done by making sure that as the arm is moving through its direction of travel it stays in contact and is not allowed to float away from your body distorting its aim.