The traditions of karate have transformed in diversity, as its popularity has spread worldwide. The work of Seihin Yamanouchi, in relating karate and Okinawan Te to dance, was a crucial element in this process. His influence on bringing these connections to the surface of the martial-art scene in Okinawa and mainland Japan was profound and quietly took hold among certain teachers. Regarding these, the most obvious name is Seikichi Uehara. He established Motobu-ryu in 1947, which was based on udun-di, the type of Te formerly taught to Okinawan royalty. In the 1970s, he began a series of community demonstrations, with the theme 'Dance & Martial Arts', that served to both show the connections of these two elements, while beginning to unscrew the locked doors of Te. Other directly influenced parties were: Tatsuo Shimabuku of Isshin-ryu karate, Seitoku Higa of the Bugeikan & Eizo Shimabuku, of Shorin-ryu. Clearly then, the soul of Seihin Yamanouchi and his book remain as an eternal testament to this research.

Probably the 1st English book to record the use of pressure points in self-defence. This historic work was a breakthrough in its day & remains a classic. Until the publication of 'Tricks of Self-Defence, A Useful Book for Everybody', in about 1910, most of the English books on jujitsu and connected martial arts dealt more with the systems in question. These were often quite complicated & took time to master. W. H. Collingridge's concept was to publish a practical, illustrated textbook for the everyday person, outlining the effective applications that anyone can easily pick up for self-defence. The result was this book, which graphically outlines 33 'Standing Positions', and 9 'Ground Tricks'. All of these require little space to practise and notably some use arm or wrist grappling, while applying pressure to nerve points. In these respects, 'Tricks of Self-Defence, A Useful Book for Everybody', is considered to be the 1st of its kind in English to record Japanese techniques of applied practical self-defence.

Sir Edwin Hartley Cameron Leather (1919-2005) was born in Canada. He is remembered as having been a self-defence expert, successful author, politician and Governor of Bermuda. Despite his endorsement of violent acts against other human beings, as described in his book, Combat Without Weapons, Sir Edwin was a freemason and Anglican lay reader. How he wrestled with the two opposites of aggression v. faith can only be conjectured, but his book was innovative at the time. Historically, the basis for the killing and maiming methods he proposes came about when Edward William Barton-Wright founded his Bartitsu School of Arms in London in 1898. In 1900, Barton-Wright invited S. K. Uyenishi, to teach jujitsu and his methods proved so successful that he began teaching extreme versions to army officers. Following the sowing of these first seeds, jujitsu self-defence techniques spread throughout Britain and abroad, And the rest is now history.

All three of the works reproduced herein are about how to do practical martial arts, as a sport, for self-defence, or for combat. Published in the United Kingdom over a period of four decades, from 1905 to the 1940s, they are arranged in chronological order of their issue dates and have been presented in their original format. They should be viewed, not only as valuable time capsules, but as tangible references as to how self-defence methods developed during that time, because as wars came and went, necessity became the father of adaptation. This resulted in the deadlier applications, which arrived in England alongside recreational jujitsu and sport judo at the dawn of the 20th century, being synthesized more into styles for self-preservation and these then began to change back into methods for maiming and killing. This trend should not be so shocking though, because jujitsu had, following the opening up of Japan after 1868, been developed as a safe method for practicing the older martial arts of the samurai.

Known for its knock-out strikes, fluid footwork & bladed weaponry, Okinawan te is a survivor that has endured due to its ability to adapt to social changes. In 1609, in order to suppress Okinawa's developing military might & vast trading links, the Japanese Satsuma clan launched a massive invasion & subjugated the island kingdom. Until then, te had been a bushido battlefield system, with organised castle & naval warfare. However, under Satsuma's rule, the Okinawan bushi, could no longer bear arms in public or have standing armies, so te was transformed into a personal fighting system & recreational activity. Within karate, Okinawan dance & music, the hidden essence of te still provides the framework. It fills Okinawan cultural life & keeps its subtle social machinery revolving. In this detailed work the foundation stones of Okinawan te are laid out through the explanations of historic technical photographs left by the masters for future generations; their forethought has enabled us to walk in their footsteps.

Progression is a positive trait, as long as one keeps in touch with the past and has a staple backdrop to focus or fall back on. Although the Revised Expanded Third Edition contains all the wording and photographs that are reproduced in both the first edition, as well as this Revised and Expanded Second Edition, it comparatively represents a step into what was, for these latter two books, the future. The year 2019, in which I am writing this foreword, represents respectively 30 years and 20 years into the future since the publication of these two books, so I think this faithful reproduction of the Master Version by Q&I Publications is well timed. For some readers it might bring about nostalgia, for others it might be an eye-opener into a world that is not always truthfully represented, due to commercial or other reasons. For the teachers who I interviewed and have been embodied herein, I hope this Master Version will remain a testament into how they wished to be represented for time immemorial.

Time moves on, cultures change with the twists of history and secret arts are lost. To understand the essence of karate, kobudo and te is to read and digest this work. To devour the mysteries of the secret principles it records is to dwell in a former time, only then will the reader know the true meanings of what the masters passed on. This book was a classic of the 20th century and, with the passing of time, is now considered to be an historic record for the modern era; both a time capsule and an integrated tool of knowledge transmission. Also featuring contributions from the latest breed of expert researchers, this Expanded Third Edition keeps the original version alive in its entirety, while bringing the Okinawan karate world up to date, as it expands into an ever-increasing international world. Be warned though, it also answers questions that have not been asked until now and topics that could not have been discussed, while expanding on newly debatable issues. This is what the masters were really saying

The oldest and most respected martial arts title in the industry, this popular monthly magazine addresses the needs of martial artists of all levels by providing them with information about every style of self-defense in the world - including techniques and strategies. In addition, Black Belt produces and markets over 75 martial arts-oriented books and videos including many about the works of Bruce Lee, the best-known marital arts figure in the world.

New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.

Nestor Capoeira, a long-time teacher of capoeira and noted mestre (master), begins this revised edition of his bestseller with an in-depth history of the Brazilian art, giving the most popular theories for the origins and purposes of this movement that combines the grace of dance with lethal self-defense techniques in a unique game-song structure. He discusses some of the most famous capoeristas and their influence on the art. In addition, he describes how the two major branches of capoeira (Angola and Regional) came about and the differences between them. The Little Capoeira Book’s clear descriptions of the game, or jogo, explain the actual application of capoeira, vaguely similar to sparring but very different in purpose and style. The music of capoeira, which is played during all jogo, is also examined, along with its main instrument, the berimbau. The author includes a how-to guide with photographs showing basic moves for beginners, with offensive and defensive applications for simple kicks, takedowns, advanced kicks and movements, head butts, hand strikes, and knee and elbow strikes. Each technique is vividly depicted with drawings that are easy to understand and learn from, and mestre capoeira includes an explanation of both Angola and Regional versions.