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	<title>Shotokan Karate of America</title>
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	<link>http://ska.org</link>
	<description>A nonprofit organization teaching traditional karate-do in the United States since 1955</description>
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		<title>News (Members Only)</title>
		<link>http://ska.org/news-members-only/</link>
		<comments>http://ska.org/news-members-only/#comments</comments>
		<pubDate>Thu, 24 Feb 2011 21:29:49 +0000</pubDate>
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		<title>Nisei Week Exhibition</title>
		<link>http://ska.org/about/nisei-week-exhibition/</link>
		<comments>http://ska.org/about/nisei-week-exhibition/#comments</comments>
		<pubDate>Wed, 16 Feb 2011 16:38:46 +0000</pubDate>
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		<description><![CDATA[On Saturday, August 10, 2013, Shotokan Karate of America (SKA) will host its 57th Annual Nisei Week Karate Exhibition and Tournament 11am &#8211; 1:30pm at Caltech Braun Gymnasium (view map) 1200 East California Boulevard Pasadena, California 91125 SKA’s Nisei Week Karate Exhibition and Tournament is the oldest karate demonstration in the United States. Fighters and [...]]]></description>
				<content:encoded><![CDATA[<p>On Saturday, August 10, 2013, Shotokan Karate of America (SKA) will host its <strong>57th Annual Nisei Week Karate Exhibition and Tournament</strong> 11am &#8211; 1:30pm at</p>
<p style="padding-left: 30px;">Caltech Braun Gymnasium (<a href="http://maps.google.com/maps?oe=utf-8&amp;rls=org.mozilla:en-US:official&amp;client=firefox-a&amp;um=1&amp;ie=UTF-8&amp;q=Caltech+Braun+Gymnasium+1200+East+California+Boulevard+Pasadena,+California+91125&amp;fb=1&amp;gl=us&amp;hq=Caltech+Braun+Gymnasium+1200+East+California+Boulevard&amp;hnear=Pasadena,+CA+91125&amp;cid=0,0,3790315442390818074&amp;ei=YfpbTbuICYX6lweE8rHjCQ&amp;sa=X&amp;oi=local_result&amp;ct=image&amp;resnum=2&amp;ved=0CBsQnwIwAQ" target="_blank">view map</a>)<br />
1200 East California Boulevard<br />
Pasadena, California 91125</p>
<p>SKA’s Nisei Week Karate Exhibition and Tournament is the oldest karate demonstration in the United States. Fighters and participants  from dojos all over the USA and abroad arrive in Los Angeles to compete and to make individual and group demonstrations. The Exhibition and Tournament is open to the public. Admission and parking are free. The doors will open at 10:30 am.</p>
<p>For more information contact SKA Headquarters at 213-437-0988 during office hours, Monday through Friday from 9:00 am to 5:00 pm (PDT) or visit us on <a href="http://www.facebook.com/home.php#!/event.php?eid=189404987779620" target="_blank">FaceBook</a></p>
<p style="text-align: center;">
<p><a href="http://www.youtube.com/watch?v=Z-KAk8Topv8">http://www.youtube.com/watch?v=Z-KAk8Topv8</a></p>
<p><a href="http://www.youtube.com/watch?v=Z-KAk8Topv8"><img src="http://img.youtube.com/vi/Z-KAk8Topv8/default.jpg" width="130" height="97" border=0></a></p>
</p>
<h3><span style="font-weight: bold;">A History of Karate at the <a href="http://niseiweek.org/" target="_blank">Nisei Week Festival</a></span></h3>
<div id="attachment_274" class="wp-caption alignright" style="width: 310px"><a href="http://ska.org/wp-content/uploads/2011/02/1967_nisei_week_maryknoll_group.jpg" rel="lightbox[270]"><img class="size-medium wp-image-274" title="Maryknoll group performs at Nisei Week in 1967" alt="" src="http://ska.org/wp-content/uploads/2011/02/1967_nisei_week_maryknoll_group-300x217.jpg" width="300" height="217" /></a><p class="wp-caption-text">Maryknoll members perform at Nisei Week, 1967</p></div>
<p>From the opening of Japan to the West in the late 1800’s through the early 1900’s, large groups of Japanese emigrated to Hawaii, the United States and South America. The North American migrants settled primarily in Seattle, San Francisco and Los Angeles. The first generation of immigrants was known as the “Issei.” By the 1930’s, Los Angeles contained the largest Japanese American population on the U.S. mainland. Little Tokyo, in downtown Los Angeles, represented the center of that community. Retail and commercial businesses, community and religious centers, and professional services centered in Little Tokyo. However, business stagnated as the entire nation struggled through the Great Depression.</p>
<p>The next generation of young Japanese Americans (the ”Nisei”) developed a concept to create a summer festival to celebrate Japanese and Japanese American culture and arts. “Nisei Week” would also drive spectators and shoppers to Little Tokyo to regenerate commercial activity. Thus the <a title="Official Nisei Week Festival web site" href="http://niseiweek.org/" target="_blank">Nisei Week Festival</a> was born in 1934.</p>
<p>Events offered a glimpse into Japanese culture: ondo (festival dancing), ikebana (floral arranging), fashion shows, tea ceremonies, calligraphy, art and talent shows, and a royal court of the Nisei Week queen and her attendants. Japanese foods and the local cuisine based on the Asian dishes were a highlight. Also featured were traditional martial arts, judo and kendo. During World War II, from 1942 to 1946, while Japanese Americans were incarcerated, the Festival was interrupted. The community was able to restart Nisei Week in 1949.</p>
<p><a href="http://ska.org/wp-content/uploads/2011/02/nisei_week_1960s_ohshima.jpg" rel="lightbox[270]"><img class="alignleft size-full wp-image-271" title="Tsutomu Ohshima nage-no-waza" alt="" src="http://ska.org/wp-content/uploads/2011/02/nisei_week_1960s_ohshima.jpg" width="195" height="129" /></a>After graduating from Waseda University where he was captain of the school’s esteemed karate club, Tsutomu Ohshima immigrated to the United States in 1955. He had been a direct student under Master Gichin Funakoshi, the founder of modern karate who brought karate to mainland Japan from Okinawa. Mr. Ohshima’s reputation in the world of karate had preceded him and it wasn’t long before he was teaching the first American karate students.</p>
<p>In 1957, Tatsuo Inouye, the leader of the local judo federation, invited Mr. Ohshima to participate in the Nisei Week Judo Exhibition at Koyasan Buddhist Temple in the center of Little Tokyo. Because he was the only black belt, Mr. Ohshima performed much of the demonstration. No black belts had yet been promoted to conduct a tournament. This was the first official public demonstration of traditional karate in the United States, and has since become an annual activity for Mr. Ohshima’s students.</p>
<p>That first 15-minute exhibition included 15-to-20 original members, including: George Murakami, Roe Suzuki, Fred Suzuki, Frank Kawana, Mas Norihiro, Takaaki Endo, Mike Shibano, and Akimasa Futami. Stan Tashiro, also an original member, provided commentary. Several of these students would later become the first American karate black belts.</p>
<p>Among the spectators at the first exhibition were Peter and Caylor Adkins. The brothers enrolled in Mr. Ohshima’s classes and Caylor would later become part of that first group of black belts. Caylor, now a godan (fifth degree black belt), continues to be a significant influence within Shotokan Karate.</p>
<p>With the support of local community leaders, in 1958 a separate karate tournament was added as part of Nisei Week under the direction of Mr. Ohshima. Those community leaders included Reverend Daiichi Tsuyuki of Konko Church, Bishop Kenko Yamashita of Zenshuji Buddhist Temple, Rev. Shoki Mohri of Nishi Hongwanji Buddhist Temple; community leaders Junichi Yoshitomi and Masuo Nitamura; journalists such as George Nozawa, kendo insructors such as Master Torao Mori, and judo teachers Sensei Kaname Kuniyuki and Sensei Tatsuo Inoue. The tournament was first televised on CBS around this time.</p>
<p>In 1959, Mr. Ohshima’s group was formally organized as the Southern California Karate Association (SCKA). In 1969, the SCKA was incorporated as Shotokan Karate of America (SKA).</p>
<p><a href="http://ska.org/wp-content/uploads/2011/02/ohshima_1975_07_black_belt_magazine_cover.jpg" rel="lightbox[270]"><img class="alignright size-medium wp-image-280" title="July 1975 cover of Black Belt Magazine" alt="" src="http://ska.org/wp-content/uploads/2011/02/ohshima_1975_07_black_belt_magazine_cover-300x398.jpg" width="300" height="398" /></a>Mr. Ohshima, who is a member of the Black Belt Magazine Hall of Fame, has traveled throughout the world teaching karate to thousands of students. Mr. Ohshima is currently the head instructor of karate organizations in fifteen other countries, including France, Israel, Canada, Switzerland, Spain, Belgium, and Morocco.</p>
<p>For many years, Koyasan Temple would be the home of the exhibition. The event had grown to include a tournament of local, national and international black belts from Mr. Ohshima’s dojos and other karate groups. In the 1960’s, for example, Yasunori Ono¾All-Japan Collegiate Champion and Mr. Ohshima’s junior from Waseda University¾fought and took first place. Mr. Ohshima’s students from around the world also exhibited demonstrations of karate techniques and practices. In the 1970’s the exhibition was moved to the larger (and air conditioned!) Nishi Hongwanji gymnasium to ccommodate the crowds and supporters.</p>
<p>In 2004, the 48th Annual Nisei Week Karate Exhibition and Tournament moved out of Little Tokyo and relocated to Caltech’s Brown Gymnasium. Perhaps, “returned” might be better word than “relocated.” Caltech’s karate club was started in 1957, creating the oldest university karate group in America. Mr. Ohshima was a member of the Caltech’s faculty for 37 years and taught karate to several of Caltech’s current and past academic professors. The Caltech Karate Club carries on its tradition as a vital part of SKA and its facilities hold a special place in karate history.</p>
<p>&nbsp;</p>
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		<title>Glossary</title>
		<link>http://ska.org/about/glossary/</link>
		<comments>http://ska.org/about/glossary/#comments</comments>
		<pubDate>Tue, 15 Feb 2011 19:48:14 +0000</pubDate>
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		<description><![CDATA[Numbers &#124; General &#124; Standing Forms &#124; Blocks &#124; Hand Techniques (punches and other striking techniques) &#124; Kicks &#124; Sparring &#124; Throwing Techniques Pronunciation keys of Japanese terms are given in parentheses. How to read Japanese in English alphabet (rōmaji): English vowels a=ah, i=ee, u=oo, e=eh and o=oh A macron or a line over a [...]]]></description>
				<content:encoded><![CDATA[<p><a href="#numbers">Numbers</a> | <a href="#gen">General</a> | <a href="#standing">Standing Forms</a> | <a href="#blocks">Blocks</a> | <a href="#hand">Hand Techniques</a> (<a href="#tsuki">punches</a> and other <a href="#uchiwaza">striking techniques</a>) | <a href="#kicks">Kicks</a> | <a href="#sparring">Sparring</a> | <a href="#throwing">Throwing Techniques</a></p>
<ul>
<li>Pronunciation keys of Japanese terms are given in parentheses.</li>
<li>How to read Japanese in English alphabet (rōmaji):<br />
English vowels <strong><em>a=ah</em>, <em>i</em>=<em>ee</em>, <em>u=oo</em>, <em>e=eh</em> and <em>o=oh</em></strong></li>
<li>A macron or a line over a vowel indicates that it  is pronounced for twice the length of the vowel without a macron or a  line. Sometimes an &#8220;h&#8221; is added instead, as in Mr. Ohshima&#8217;s name. The  first &#8220;o&#8221; in Mr. Ono&#8217;s name, on the other hand, is not lengthened. Ohno  and Ono are two different names. However, these sounds are just  approximations and there are some exceptions.</li>
<li>Please note that the pronunciation keys given here  are only approximations and are primarily designed for the members in  the U.S. and Canada. They may not necessarily be helpful for the members  of international affiliates.</li>
<li>Hiroko Mori has recorded each term twice &#8212; first slowly, then natural speed.  Click each Japanese term to hear the recording.</li>
</ul>
<table border="1" cellspacing="0" cellpadding="3" align="center">
<tbody>
<tr>
<td>
<h4><a name="numbers"></a>Numbers</h4>
</td>
<td></td>
</tr>
<tr>
<td>One</td>
<td><em><a href="http://ska.org/audio/ichi.mp3">ichi</a></em> (ee-chee)</td>
</tr>
<tr>
<td>Two</td>
<td><em><a href="http://ska.org/audio/ni.mp3">ni</a></em> (nee)</td>
</tr>
<tr>
<td>Three</td>
<td><em><a href="http://ska.org/audio/san.mp3">san</a></em> (sahn)</td>
</tr>
<tr>
<td>Four</td>
<td><em><a href="http://ska.org/audio/shi.mp3">shi</a></em> (shee)</td>
</tr>
<tr>
<td>Five</td>
<td><em><a href="http://ska.org/audio/go.mp3">go</a></em> (goh)</td>
</tr>
<tr>
<td>Six</td>
<td><em><a href="http://ska.org/audio/roku.mp3">roku</a></em> (roh-koo)</td>
</tr>
<tr>
<td>Seven</td>
<td><em><a href="http://ska.org/audio/shichi.mp3">shichi</a></em> (shee-chee)</td>
</tr>
<tr>
<td>Eight</td>
<td><em><a href="http://ska.org/audio/hachi.mp3">hachi</a></em> (hah-chee)</td>
</tr>
<tr>
<td>Nine</td>
<td><em><a href="http://ska.org/audio/ku.mp3">ku</a></em> (koo) / <em><a href="http://ska.org/audio/ku2.mp3">kyū</a></em> (kyoo)</td>
</tr>
<tr>
<td>Ten</td>
<td><em><a href="http://ska.org/audio/ju.mp3">jū</a></em> (joo)</td>
</tr>
<tr>
<td>
<h4><a name="gen"></a>General</h4>
</td>
<td></td>
</tr>
<tr>
<td>Head instructor/Master instructor (of an organization) *(see <a href="#notes">Notes</a> at the end)</td>
<td><em><a href="http://ska.org/audio/shihan.mp3">shihan</a></em> (shee-hahn)</td>
</tr>
<tr>
<td>Instructor *(see <a href="#notes">Notes</a> at the end)</td>
<td><em><a href="http://ska.org/audio/sensei.mp3">sensei</a></em> (sehn-seh-ee)</td>
</tr>
<tr>
<td>Training hall</td>
<td><em><a href="http://ska.org/audio/dojo.mp3">dōjō</a></em> (doh-joh)</td>
</tr>
<tr>
<td>Training uniform</td>
<td><em><a href="http://ska.org/audio/keiko_gi.mp3">keiko gi</a></em> (keh-ee-koh gee)/<em><a href="http://ska.org/audio/gi.mp3">gi</a></em><em> </em>(gee)</td>
</tr>
<tr>
<td>Training uniform belt</td>
<td><em><a href="http://ska.org/audio/obi.mp3">obi</a></em> (oh-bee)</td>
</tr>
<tr>
<td>Vocal expulsion of air</td>
<td><em><a href="http://ska.org/audio/kiai.mp3">kiai</a></em> (kee-ah-ee)</td>
</tr>
<tr>
<td>Black Belt rank</td>
<td><em><a href="http://ska.org/audio/dan.mp3">dan</a></em> (dahn)</td>
</tr>
<tr>
<td>White/Brown belt rank</td>
<td><em><a href="http://ska.org/audio/kyu.mp3">kyū</a></em> (kyoo)</td>
</tr>
<tr>
<td>Meditation</td>
<td><em><a href="http://ska.org/audio/mokuso.mp3">mokusō</a></em> (moh-koo-soh)</td>
</tr>
<tr>
<td>Bow</td>
<td><em><a href="http://ska.org/audio/rei.mp3">rei</a></em> (reh-ee)/lei (leh-ee)</td>
</tr>
<tr>
<td>Assume stance</td>
<td><em><a href="http://ska.org/audio/kamaete.mp3">kamaete</a></em> (kah-mah-eh-teh)</td>
</tr>
<tr>
<td>Get ready</td>
<td><em><a href="http://ska.org/audio/yoi.mp3">yōi</a></em> (yoh-ee)</td>
</tr>
<tr>
<td>Begin</td>
<td><em><a href="http://ska.org/audio/hajime.mp3">hajime</a></em> (hah-jee-meh)</td>
</tr>
<tr>
<td>Pivot/assume opposite direction</td>
<td><em><a href="http://ska.org/audio/kaette.mp3">kaette</a></em> (kah-eht-teh)</td>
</tr>
<tr>
<td>Stop</td>
<td><em><a href="http://ska.org/audio/yame.mp3">yame</a></em> (yah-meh)</td>
</tr>
<tr>
<td>At ease</td>
<td><em><a href="http://ska.org/audio/yasume.mp3">yasume</a></em> (yah-soo-meh)</td>
</tr>
<tr>
<td>Basic training</td>
<td><em><a href="http://ska.org/audio/kihon.mp3">kihon</a></em> (kee-hohn)</td>
</tr>
<tr>
<td>Formal exercise/forms</td>
<td><em><a href="http://ska.org/audio/kata.mp3">kata</a></em> (kah-tah)</td>
</tr>
<tr>
<td>Sparring</td>
<td><em><a href="http://ska.org/audio/kumite.mp3">kumite</a></em> (koo-mee-teh)</td>
</tr>
<tr>
<td>Escape techniques</td>
<td><em><a href="http://ska.org/audio/torite.mp3">torite</a></em><em> </em>(toh-ree-teh)</td>
</tr>
<tr>
<td>Throwing techniques</td>
<td><em><a href="http://ska.org/audio/nagewaza.mp3">nagewaza</a></em><em> </em>(nah-geh-wah-zah)</td>
</tr>
<tr>
<td>Foot sweep</td>
<td><em><a href="http://ska.org/audio/ashibarai.mp3">ashibarai</a></em> (ah-shee-bah-rah-ee)</td>
</tr>
<tr>
<td>Maximum effectiveness/ focus of techniques</td>
<td><em><a href="http://ska.org/audio/kime.mp3">kime</a></em> (kee-meh)</td>
</tr>
<tr>
<td>Pulling hand</td>
<td><em><a href="http://ska.org/audio/hikite.mp3">hikite</a></em> (hee-kee-teh)</td>
</tr>
<tr>
<td>Breathing center in lower abdomen</td>
<td><em><a href="http://ska.org/audio/tanden.mp3">tanden</a></em> (tahn-dehn)</td>
</tr>
<tr>
<td>Getting into the opponent</td>
<td><em><a href="http://ska.org/audio/irimi.mp3">irimi</a></em> (ee-ree-mee)</td>
</tr>
<tr>
<td>Elbow Attacks</td>
<td><em><a href="http://ska.org/audio/enpi.mp3">enpi</a></em> (ehn-pee)/ <em>empi</em><em>(ehm-pee)</em></td>
</tr>
<tr>
<td>Jumping-in attack</td>
<td><em><a href="http://ska.org/audio/tobikomi.mp3">tobikomi</a></em> (toh-bee-koh-mee)</td>
</tr>
<tr>
<td>Continuous Techniques</td>
<td><em><a href="http://ska.org/audio/renzokuwaza.mp3">renzoku waza</a></em> (rehn-zoh-koo wah-zah)</td>
</tr>
<tr>
<td>Punching board</td>
<td><em><a href="http://ska.org/audio/makiwara.mp3">makiwara</a></em> (mah-kee-wah-rah)</td>
</tr>
<tr>
<td>Staff</td>
<td><em><a href="http://ska.org/audio/bo.mp3">bō</a></em> (boh)</td>
</tr>
<tr>
<td>
<h4><a name="standing"></a>Standing Forms:</h4>
</td>
<td>
<h4><a href="http://ska.org/audio/tachikata.mp3">Tachikata</a> (tah-chee-kah-tah)<a href="http://ska.org/audio/tachi.mp3"> Tachi</a> (tah-chee) changes to <a href="http://ska.org/audio/dachi.mp3">dachi</a> (dah-chee) when used after other words.</h4>
</td>
</tr>
<tr>
<td>Front stance</td>
<td><em><a href="http://ska.org/audio/zenkutsudachi.mp3">zenkutsu-dachi</a></em> (zehn-koo-tsoo-dah-chee)</td>
</tr>
<tr>
<td>Back stance</td>
<td><em><a href="http://ska.org/audio/kokutsudachi.mp3">kōkutsu-dachi</a></em> (koh-koo-tsoo-dah-chee)</td>
</tr>
<tr>
<td>Horse riding stance</td>
<td><em><a href="http://ska.org/audio/kibadachi.mp3">kiba-dachi</a></em> (kee-bah-dah-chee)</td>
</tr>
<tr>
<td>Immovable stance</td>
<td><em><a href="http://ska.org/audio/fudodachi.mp3">fudō</a></em><em><a href="http://ska.org/audio/fudodachi.mp3">-dachi </a></em>(foo-doh-dah-chee)</td>
</tr>
<tr>
<td>Cat stance</td>
<td><em><a href="http://ska.org/audio/nekoashidachi.mp3">nekoashi-dachi</a></em> (neh-koh-ah-shee-dah-chee)</td>
</tr>
<tr>
<td>Natural stance</td>
<td><em><a href="http://ska.org/audio/shizentai.mp3">shizentai</a></em> (shee-zehn-tah-ee)</td>
</tr>
<tr>
<td>Close-leg stance</td>
<td><em><a href="http://ska.org/audio/heisoku_dachi.mp3">heisoku-dachi</a></em> (heh-ee-soh-koo-dah-chee)</td>
</tr>
<tr>
<td>Half-facing stance</td>
<td><em><a href="http://ska.org/audio/hanmidachi.mp3">hanmi-dachi</a></em> (hahn-mee-dah-chee)</td>
</tr>
<tr>
<td>Open-leg stance</td>
<td><em><a href="http://ska.org/audio/hachijidachi.mp3">hachiji-dachi</a></em> (hah-chee-jee-dah-chee)</td>
</tr>
<tr>
<td>
<h4><a name="blocks"></a>Blocks</h4>
</td>
<td>
<h4><a href="http://ska.org/audio/uke.mp3">Uke</a> (oo-keh) <a href="http://ska.org/audio/harai.mp3"> Harai</a> (hah-rah-ee) changes to <a href="http://ska.org/audio/barai.mp3">barai</a> (bah-rah-ee) when used after other words. Harai is one kind of block.</h4>
</td>
</tr>
<tr>
<td>Downward block</td>
<td><em><a href="http://ska.org/audio/gedan_barai.mp3">gedan-barai</a></em> (geh-dahn-bah-rah-ee)</td>
</tr>
<tr>
<td>Rising block</td>
<td><em><a href="http://ska.org/audio/age_uke.mp3">age-uke</a></em> (ah-geh-oo-keh)</td>
</tr>
<tr>
<td>Forearm block</td>
<td><em><a href="http://ska.org/audio/ude_uke.mp3">ude-uke</a></em> (oo-deh-oo-keh)</td>
</tr>
<tr>
<td>Hammer block</td>
<td><em><a href="http://ska.org/audio/tetsui-uke.mp3">tetsui-uke</a></em> (teh-tsoo-ee-oo-keh)/<em><a href="http://ska.org/audio/tettsui-uke2.mp3">tettsui-uke</a></em> (teht-tsoo-ee-oo-keh)</td>
</tr>
<tr>
<td>Knife-hand block</td>
<td><em><a href="http://ska.org/audio/shuto-uke.mp3">shutō-uke</a></em> (shoo-toh-oo-keh)</td>
</tr>
<tr>
<td>Cross-arm block</td>
<td><em><a href="http://ska.org/audio/juji-uke.mp3">jūji-uke</a></em> (joo-jee-oo-keh)</td>
</tr>
<tr>
<td>Two-hand block</td>
<td><em><a href="http://ska.org/audio/morote-uke.mp3">morote-uke</a></em> (moh-roh-the-oo-keh)</td>
</tr>
<tr>
<td>Palm-heel block</td>
<td><em><a href="http://ska.org/audio/teisho-uke.mp3">teishō-uke</a></em> (teh-ee-shoh-oo-keh)</td>
</tr>
<tr>
<td>
<h4><a name="hand"></a>Hand Techniques</h4>
</td>
<td>
<h4><a href="http://ska.org/audio/tewaza.mp3">Te Waza</a> (teh-wah-zah) Thrust <a name="tsuki"></a><a href="http://ska.org/audio/tsuki.mp3">tsuki</a> (tsoo-kee) changes to <a href="http://ska.org/audio/zuki.mp3">zuki</a> (zoo-kee) when used after other words.</h4>
</td>
</tr>
<tr>
<td>Lunge punch</td>
<td><em><a href="http://ska.org/audio/oizuki.mp3">oi-zuki</a></em> (oh-ee-zoo-kee)</td>
</tr>
<tr>
<td>Reverse punch</td>
<td><em><a href="http://ska.org/audio/gyakuzuki.mp3">gyaku-zuki</a></em> (gyah-koo-zoo-kee)</td>
</tr>
<tr>
<td>Jab</td>
<td><em><a href="http://ska.org/audio/maete.mp3">maete</a></em> (mah-eh-teh)</td>
</tr>
<tr>
<td>Continuous punches alternating hands</td>
<td><em><a href="http://ska.org/audio/baribari.mp3">bari-bari</a></em> (bah-ree-bah-ree)</td>
</tr>
<tr>
<td>Continuous punching attacks</td>
<td><em><a href="http://ska.org/audio/renzokuzuki.mp3">renzoku-zuki</a></em> (rehn-zoh-koo-zoo-kee)/<em><a href="http://ska.org/audio/renzuki.mp3">ren-zuki</a></em> (rehn-zoo-kee)</td>
</tr>
<tr>
<td>Punching with horse riding stance</td>
<td><em><a href="http://ska.org/audio/kibadachi_zuki.mp3">kibadachi-zuki</a></em> (kee-bah-dah-chee-zoo-kee)</td>
</tr>
<tr>
<td>Double punch</td>
<td><em><a href="http://ska.org/audio/morotezuki.mp3">morote-zuki</a></em> (moh-roh-teh-zoo-kee)</td>
</tr>
<tr>
<td>Hook punch</td>
<td><em><a href="http://ska.org/audio/kagi_zuki.mp3">kagi-zuki</a></em> (kah-gee-zoo-kee)</td>
</tr>
<tr>
<td>Palm-heel</td>
<td><em><a href="http://ska.org/audio/teisho.mp3">teishō</a></em><em> </em>(teh-ee-shoh)</td>
</tr>
<tr>
<td>Rising punch</td>
<td><em><a href="http://ska.org/audio/age_zuki.mp3">age-zuki</a></em> (ah-geh-zoo-kee)</td>
</tr>
<tr>
<td>
<h4><a name="uchiwaza"></a>Striking Techniques</h4>
</td>
<td>
<h4><a href="http://ska.org/audio/uchiwaza.mp3">Uchi Waza</a> (oo-chee-wah-zah)</h4>
</td>
</tr>
<tr>
<td>Back-fist strike</td>
<td><em><a href="http://ska.org/audio/uraken_uchi.mp3">uraken-uchi</a></em> (oo-rah-kehn-oo-chee)</td>
</tr>
<tr>
<td>Bottom-fist strike</td>
<td><em><a href="http://ska.org/audio/tetsui_uchi.mp3">tetsui-uchi </a></em>(teh-tsoo-ee-oo-chee)<em>/ </em><em><a href="http://ska.org/audio/tettsui_uchi2.mp3">tettsui-uchi</a></em> (teht-tsoo-ee-oo-chee)</td>
</tr>
<tr>
<td>Knife-hand strike</td>
<td><em><a href="http://ska.org/audio/shuto_uchi.mp3">shutō-uchi</a></em> (shoo-toh-oo-chee)</td>
</tr>
<tr>
<td>Spear-hand</td>
<td><em><a href="http://ska.org/audio/nukite.mp3">nukite</a></em><em> </em>(noo-kee-teh)</td>
</tr>
<tr>
<td>Two-finger spear-hand</td>
<td><em><a href="http://ska.org/audio/nihon_nukite.mp3">nihon-nukite</a></em> (nee-hohn-noo-kee-teh)</td>
</tr>
<tr>
<td>Fore-fist</td>
<td><em><a href="http://ska.org/audio/seiken.mp3">seiken</a></em> (seh-ee-kehn)</td>
</tr>
<tr>
<td>Fore-knuckle fist</td>
<td><em><a href="http://ska.org/audio/hiraken.mp3">hiraken</a></em> (hee-rah-kehn)</td>
</tr>
<tr>
<td>One-knuckle fist</td>
<td><em><a href="http://ska.org/audio/ippon_ken.mp3">ippon-ken</a></em> (eep-pohn-kehn)</td>
</tr>
<tr>
<td>Middle finger/knuckle fist</td>
<td><em><a href="http://ska.org/audio/nakadaka_ken.mp3">nakadaka-ken</a></em> (nah-kah-dah-kah-kehn)</td>
</tr>
<tr>
<td>Ridge-hand</td>
<td><em><a href="http://ska.org/audio/haito.mp3">haitō</a></em> (hah-ee-toh)</td>
</tr>
<tr>
<td>
<h4><a name="kicks"></a>Kicks</h4>
</td>
<td><a href="http://ska.org/audio/keri.mp3">Keri</a> (keh-ree) Keri (keh-ree) changes to <a href="http://ska.org/audio/geri.mp3">geri</a> (geh-ree) when used after other words.</td>
</tr>
<tr>
<td>Front kick</td>
<td><em><a href="http://ska.org/audio/maegeri.mp3">mae-geri</a></em> (mah-eh-geh-ree)</td>
</tr>
<tr>
<td>Round kick</td>
<td><em><a href="http://ska.org/audio/mawashi_geri.mp3">mawashi-geri</a></em> (mah-wah-shee-geh-ree)</td>
</tr>
<tr>
<td>Side-thrust kick</td>
<td><em><a href="http://ska.org/audio/yokogeri_kekomi.mp3">yokogeri-kekomi</a></em> (yoh-koh-geh-ree-keh-koh-mee)</td>
</tr>
<tr>
<td>Side-up kick</td>
<td><em><a href="http://ska.org/audio/yokogeri_keage.mp3">yokogeri-keage</a></em> (yoh-koh-geh-ree-keh-ah-geh)</td>
</tr>
<tr>
<td>Crescent kick</td>
<td><em><a href="http://ska.org/audio/mikazuki_geri.mp3">mikazuki-geri</a></em> (mee-kah-zoo-kee-geh-ree)</td>
</tr>
<tr>
<td>Stamping kick</td>
<td><em><a href="http://ska.org/audio/fumikomi.mp3">fumikomi</a></em> (foo-mee-koh-mee)</td>
</tr>
<tr>
<td>Rear kick</td>
<td><em><a href="http://ska.org/audio/ushiro_geri.mp3">ushiro-geri</a></em> hiro_geri.mp3&#8243;&gt; (oo-shee-roh-geh-ree)</td>
</tr>
<tr>
<td>Double front kick</td>
<td><em><a href="http://ska.org/audio/nidan_geri.mp3">nidan-geri</a></em> (nee-dahn-geh-ree)</td>
</tr>
<tr>
<td>Flying front kick</td>
<td><em><a href="http://ska.org/audio/tobigeri.mp3">tobi-geri</a></em> (toh-bee-geh-ree)</td>
</tr>
<tr>
<td>Flying side-thrust kick</td>
<td><em><a href="http://ska.org/audio/tobi_yokogeri.mp3">tobi-yokogeri</a></em> (toh-bee-yoh-koh-geh-ree)</td>
</tr>
<tr>
<td>Front kick with front leg</td>
<td><em><a href="http://ska.org/audio/maeashi_geri.mp3">maeashi-geri</a></em> (mah-eh-ah-shee-geh-ree)</td>
</tr>
<tr>
<td>Front-thrust kick</td>
<td><em><a href="http://ska.org/audio/maeashi_kekomi.mp3">maeashi-kekomi</a></em> (mah-eh-ah-shee-keh-koh-mee)</td>
</tr>
<tr>
<td>Continuous kicks</td>
<td><em><a href="http://ska.org/audio/renzoku_geri.mp3">renzoku-geri</a></em> (rehn-zoh-koo-geh-ree)</td>
</tr>
<tr>
<td>Foot edge</td>
<td><em><a href="http://ska.org/audio/sokuto.mp3">sokutō</a></em> (soh-koo-toh)</td>
</tr>
<tr>
<td>Heel</td>
<td><em><a href="http://ska.org/audio/kakato.mp3">kakato</a></em><em> </em>(kah-kah-toh)</td>
</tr>
<tr>
<td>Kneecap</td>
<td><em><a href="http://ska.org/audio/hizagashira.mp3">hizagashira</a></em> (hee-zah-gah-shee-rah)</td>
</tr>
<tr>
<td>
<h4><a name="sparring"></a>Sparring:</h4>
</td>
<td>
<h4><a href="http://ska.org/audio/kumite.mp3">Kumite</a> (koo-mee-teh) Kumite (koo-mee-teh) often becomes <a href="http://ska.org/audio/gumite.mp3">gumite</a> (goo-mee-teh) when used after other words.</h4>
</td>
</tr>
<tr>
<td>Basic one-time sparring</td>
<td><em><a href="http://ska.org/audio/kihon_ippon_gumite.mp3">kihon ippon gumite</a></em> (kee-hohn eep-pohn goo-mee-teh)</td>
</tr>
<tr>
<td>Free one-time sparring</td>
<td><em><a href="http://ska.org/audio/jiyu_ippon_gumite.mp3">jiyū-ippon gumite</a></em> (jee-yoo-eep-pohn goo-mee-teh)</td>
</tr>
<tr>
<td>Three-time sparring</td>
<td><em><a href="http://ska.org/audio/sanbon_gumite.mp3">sanbon gumite</a></em> (sahn-bohn goo-mee-teh)</td>
</tr>
<tr>
<td>Five-time sparring</td>
<td><em><a href="http://ska.org/audio/gohon_gumite.mp3">gohon gumite</a></em> (goh-hohn goo-mee-teh)</td>
</tr>
<tr>
<td>Free-style</td>
<td><em><a href="http://ska.org/audio/jiyu_kumite.mp3">jiyū kumite</a></em> (jee-yoo koo-mee-teh)</td>
</tr>
<tr>
<td>Upper body</td>
<td><em><a href="http://ska.org/audio/jodan.mp3">jōdan</a></em> (joh-dahn)</td>
</tr>
<tr>
<td>Middle body</td>
<td><em><a href="http://ska.org/audio/chudan.mp3">chūdan</a></em><em> </em>(choo-dahn)</td>
</tr>
<tr>
<td>Lower body</td>
<td><em><a href="http://ska.org/audio/gedan.mp3">gedan</a></em> (geh-dahn)</td>
</tr>
<tr>
<td>Distance, timing, and other things between opponents</td>
<td><em><a href="http://ska.org/audio/ma.mp3">ma</a></em> (mah)</td>
</tr>
<tr>
<td>Match</td>
<td><em><a href="http://ska.org/audio/shiai.mp3">shiai</a></em> (shee-ah-ee)</td>
</tr>
<tr>
<td>Bow</td>
<td><em><a href="http://ska.org/audio/rei2.mp3">rei</a></em> (reh-ee) / <em>lei</em> (leh-ee)</td>
</tr>
<tr>
<td>One point match</td>
<td><em><a href="http://ska.org/audio/shobu_ippon.mp3">shōbu ippon</a></em> (shoh-boo eep-pohn)</td>
</tr>
<tr>
<td>Begin</td>
<td><em><a href="http://ska.org/audio/hajime2.mp3">hajime</a></em> (hah-jee-meh)</td>
</tr>
<tr>
<td>Stop</td>
<td><em><a href="http://ska.org/audio/yame.mp3">yame</a></em> (yah-meh)</td>
</tr>
<tr>
<td>Clash</td>
<td><em><a href="http://ska.org/audio/aiuchi.mp3">aiuchi</a></em> (ah-ee-oo-chee)</td>
</tr>
<tr>
<td>I award no point</td>
<td><em><a href="http://ska.org/audio/torimasen.mp3">torimasen</a></em> (toh-ree-mah-sehn)</td>
</tr>
<tr>
<td>Continue</td>
<td><em><a href="http://ska.org/audio/tsuzukete.mp3">tsuzukete</a></em> (tsoo-zoo-keh-teh)</td>
</tr>
<tr>
<td>One more time</td>
<td><em><a href="http://ska.org/audio/mo_ichido.mp3">mō ichido</a></em> (moh ee-chee-doh)</td>
</tr>
<tr>
<td>End of match</td>
<td><em><a href="http://ska.org/audio/soko_made.mp3">soko made</a></em><em> </em>(soh-koh mah-deh) / <em><a href="http://ska.org/audio/sore_made.mp3">sore made</a></em> (soh-reh mah-deh)</td>
</tr>
<tr>
<td>Half-point</td>
<td><em><a href="http://ska.org/audio/waza_ari.mp3">waza ari</a></em> (wah-zah ah-ree)</td>
</tr>
<tr>
<td>Point</td>
<td><em><a href="http://ska.org/audio/ippon.mp3">ippon</a></em> (eep-pohn)</td>
</tr>
<tr>
<td>Two half-points equal one point</td>
<td><em><a href="http://ska.org/audio/waza_ari_awasete_ippon.mp3">waza ari awasete ippon</a></em> (wah-zah ah-ree ah-wah-seh-teh eep-pohn)</td>
</tr>
<tr>
<td>Draw</td>
<td><em><a href="http://ska.org/audio/hikiwake.mp3">hikiwake</a></em> (hee-kee-wah-keh)</td>
</tr>
<tr>
<td>Red</td>
<td><em><a href="http://ska.org/audio/aka.mp3">aka</a></em> (ah-kah)</td>
</tr>
<tr>
<td>White</td>
<td><em><a href="http://ska.org/audio/shiro.mp3">shiro</a></em> (shee-roh)</td>
</tr>
<tr>
<td>Red is the winner</td>
<td><em><a href="http://ska.org/audio/aka_no_kachi.mp3">aka no kachi</a></em> (ah-kah noh kah-chee)</td>
</tr>
<tr>
<td>Referee</td>
<td><em><a href="http://ska.org/audio/shinpan.mp3">shinpan</a></em> (sheen-pahn) / <em>shimpan</em><em> </em>(sheem-pahn)</td>
</tr>
<tr>
<td>
<h4><a name="throwing"></a>Throwing Techniques</h4>
</td>
<td><a href="http://ska.org/audio/nagewaza2.mp3">Nagewaza</a> (nah-geh-wah-zah)</td>
</tr>
<tr>
<td>to topple a folding screen</td>
<td><em><a href="http://ska.org/audio/byobu_daoshi.mp3">Byōbudaoshi</a></em><em> </em>(byoh-boo-dah-oh-shee)</td>
</tr>
<tr>
<td>spinning top</td>
<td><em><a href="http://ska.org/audio/komanage.mp3">Komanage</a></em> (koh-mah-nah-geh)</td>
</tr>
<tr>
<td>encircle the neck</td>
<td><em><a href="http://ska.org/audio/kubiwa.mp3">Kubiwa</a></em> (koo-bee-wah)</td>
</tr>
<tr>
<td>half wheel</td>
<td><em><a href="http://ska.org/audio/katawa_guruma.mp3">Katawaguruma</a></em> (kah-tah-wah-goo-roo-mah)</td>
</tr>
<tr>
<td>&#8216;v&#8217; turning swallow</td>
<td><em><a href="http://ska.org/audio/tsubame_gaeshi.mp3">Tsubamegaeshi</a></em> (tsoo-bah-meh-gah-eh-shee)</td>
</tr>
<tr>
<td>to spear a ball</td>
<td><em><a href="http://ska.org/audio/yaridama.mp3">Yaridama</a></em> (yah-ree-dah-mah)</td>
</tr>
<tr>
<td>to push off a cliff</td>
<td><em><a href="http://ska.org/audio/taniotoshi.mp3">Taniotoshi</a></em> (tah-nee-oh-toh-shee)</td>
</tr>
<tr>
<td>to encircle with the arm</td>
<td><em><a href="http://ska.org/audio/udewa.mp3">Udewa</a></em> (oo-deh-wah)</td>
</tr>
<tr>
<td>to hammer upside down</td>
<td><em><a href="http://ska.org/audio/sakatsuchi.mp3">Sakatsuchi</a></em> (sah-kah-tsoo-chee)</td>
</tr>
<tr>
<td>Performer of the technique</td>
<td><em><a href="http://ska.org/audio/tori.mp3">tori</a></em><em> </em>(toh-ree)</td>
</tr>
<tr>
<td>Receiver of the technique</td>
<td><em><a href="http://ska.org/audio/uke2.mp3">uke</a></em> (oo-keh)</td>
</tr>
<tr>
<td>Falling techniques</td>
<td><em><a href="http://ska.org/audio/ukemi.mp3">ukemi</a></em> (oo-keh-mee)</td>
</tr>
</tbody>
</table>
<p><strong>For more information on nagewaza, please refer to Karate-Dō Kyōhan, pages 227-232.</strong></p>
<h3><a name="notes"></a>*Notes</h3>
<p>When <em>Shihan </em>or <em>Sensei </em>is used as an honorific or a title, there are a few important things one needs to be aware of:</p>
<ul>
<li><em>Shihan </em>or <em>Sensei </em>is attached to the end of the  person&#8217;s family name, e.g., Ohshima Shihan (not Shihan Ohshima), Ohshima  Sensei (not Sensei Ohshima)</li>
<li>According to the Japanese culture, it is not appropriate to call oneself <em>Shihan </em>or <em>Sensei</em>, or introduce oneself with the title <em>Shihan </em>or <em>Sensei</em>, e.g., Instructor John Doe shouldn&#8217;t call himself Shihan, Sensei, Doe Shihan or Doe Sensei. His students can, but he shouldn&#8217;t.</li>
<li>The same thing applies to the honorific <em>san</em> (meaning Mr., Mrs., or Miss). Mr. John Doe shouldn&#8217;t call himself Doe-san or John Doe-san. <em>San</em> can be attached only to the end of others&#8217; names.</li>
</ul>
<p><em>Revised and adapted by Hiroko Mori (September 2004, audio added October 2009)<br />
Audio voice recordings by Hiroko Mori.  Conversion to MP3 and linkages by John Schoneboom.</em></p>
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		<description><![CDATA[The Shotokan Ohshima Dojo In 1980, SKA established the goal of building an international dojo. Over the ensuing 20 years, our members, foreign affiliates, friends and supporters collectively donated over two million dollars toward that effort. Land was purchased for the site in the mountains overlooking the Pacific Ocean near Santa Barbara. The grand opening [...]]]></description>
				<content:encoded><![CDATA[<h4>The Shotokan Ohshima Dojo</h4>
<p><a href="http://ska.org/wp-content/uploads/2011/02/dojo200x300.jpg" rel="lightbox[133]"><img class="alignright size-medium wp-image-136" title="dojo200x300" src="http://ska.org/wp-content/uploads/2011/02/dojo200x300-300x196.jpg" alt="" width="300" height="196" /></a>In 1980, SKA  established the goal of building an international dojo. Over the ensuing  20 years, our members, foreign affiliates, friends and supporters  collectively donated over two million dollars toward that effort. Land  was purchased for the site in the mountains overlooking the Pacific  Ocean near Santa Barbara. The grand opening of the Shotokan Ohshima Dojo  was celebrated during August 2000. Since then Shotokan Ohshima  practitioners worldwide have gathered to practice and advance their  knowledge of our discipline. Regular classes are held for all ranks,  ages, women, kids, as well as for advanced aspects of training. Mr.  Ohshima teaches a majority of these classes.</p>
<p>The center is an international gathering place&#8230;and a symbol of what  can be achieved when people work together toward a common goal. Here,  for years to come, each generation will gain in the experience necessary  to pass on the traditional teachings of Shotokan Karate to younger  students, who will, in turn, mature and teach the next generation.</p>
<p>Shotokan Ohshima Foundation</p>
<p>Since 2000, we have raised approximately $100,000 annually to pay for maintenance and upkeep for the dojo.  In 2010, our group decided to create and fund a foundation in order to insure that Shotokan Ohshima Dojo can be maintained in perpetuity.  We are now soliciting your fully tax-deductible contribution to Shotokan Ohshima Foundation and expect to raise $2,000,000.</p>
<p>Thank you for your generous gift!</p>
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		<title>Support SKA</title>
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		<pubDate>Mon, 14 Feb 2011 00:30:18 +0000</pubDate>
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		<description><![CDATA[Shotokan Karate of America, Inc (SKA) is a 501c(3) not-for-profit educational organization. Contributions to SKA are fully tax deductible.]]></description>
				<content:encoded><![CDATA[<p>Shotokan Karate of America, Inc (SKA) is a 501c(3) not-for-profit  educational organization. Contributions to SKA are fully tax deductible.</p>
<div class="paginate eshop-paginate"><span class="displaying-num">Displaying 1&#8211;5 of 5</span></div><ul class="eshop eshopsubpages"><li class="eshop-product-55"><a class="itemref" href="http://ska.org/support/grants-and-donations/">Large Grants &#038; Donations</a><a class="itemref" href="http://ska.org/support/grants-and-donations/"><img width="150" height="150" src="http://ska.org/wp-content/uploads/2011/02/donation_image_main1-150x150.jpg" class="attachment-150x150 wp-post-image" alt="donation_image_main" /></a>
<p>This section is devoted to individuals, corporations, foundations and charitable trusts, that recognize the social, artistic, and cultural benefits of making a sizable contribution ($5,000 or more) to help Shotokan Karate of America fulfill its mission, which is &#8220;to preserve, perpetuate, and advance the legacy of Shotokan Karate for the betterment of the lives of [...]</p>
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<li class="eshop-product-57"><a class="itemref" href="http://ska.org/support/planned-giving/">Planned Giving</a><a class="itemref" href="http://ska.org/support/planned-giving/"><img width="150" height="150" src="http://ska.org/wp-content/uploads/2011/02/planned-giving1-150x150.jpg" class="attachment-150x150 wp-post-image" alt="planned-giving" /></a>
<p>Giving to Support Shotokan Karate of America Established in 1955, Shotokan Karate of America (SKA) is one of the oldest and most viable sources of traditional martial arts training in the world. Although interest in martial arts varies over time, experience from history shows that the serious practice of martial arts provides lifelong benefits. This [...]</p>
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<li class="eshop-product-133"><a class="itemref" href="http://ska.org/support/shotokan-ohshima-dojo-foundation/">Shotokan Ohshima Foundation</a><a class="itemref" href="http://ska.org/support/shotokan-ohshima-dojo-foundation/"><img width="150" height="150" src="http://ska.org/wp-content/uploads/2011/02/shotokan-ohshima-dojo-150x150.jpg" class="attachment-150x150 wp-post-image" alt="shotokan ohshima dojo" /></a>
<p>The Shotokan Ohshima Dojo In 1980, SKA established the goal of building an international dojo. Over the ensuing 20 years, our members, foreign affiliates, friends and supporters collectively donated over two million dollars toward that effort. Land was purchased for the site in the mountains overlooking the Pacific Ocean near Santa Barbara. The grand opening [...]</p>
</li>
<li class="eshop-product-143"><a class="itemref" href="http://ska.org/support/unrestricted-gift/">Unrestricted Gift</a><a class="itemref" href="http://ska.org/support/unrestricted-gift/"><img width="150" height="150" src="http://ska.org/wp-content/uploads/2011/02/donation-150x150.jpg" class="attachment-150x150 wp-post-image" alt="donation" /></a>
<p>Shotokan Karate of America, Inc (SKA) is a 501c(3) not-for-profit educational organization with over 140 dojos (practice halls) in the United States alone, as well as international affiliates around the world. Passing knowledge on to future generations is essential in the martial arts and your financial support to SKA allows us to continue offering the [...]</p>
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		<pubDate>Mon, 14 Feb 2011 00:00:17 +0000</pubDate>
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		<pubDate>Mon, 14 Feb 2011 00:00:17 +0000</pubDate>
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		<title>Thank You for your order</title>
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