Principles Of Wado Karate

Wa no Ken - Harmonized Technique +
Wa no Kokoro - Harmonized Mind - leads to
Wa no Michi - The Way of Harmony 

Fundamental to Wado-Ryu karate are several principles, some of which are derived from Shinto-Yoshin Ryu Jujutsu and therefore may be specific to Wado. Others are shared with traditional Japanese budo or Okinawan te or tode. All of these principles can be observed and practiced in the Kihon Kumite Kata.

Taisabaki - Body shifting
Correct body movement is an essential element of Wado-Ryu. The word taisabaki includes "sabaki" which carries with it the connotation of "just enough," as when a tailor cuts cloth - he moves the patterns around so that nothing is wasted. Taisabaki implies therefore efficiency of movement with nothing wasted, nothing "extra." Movement is all directed from the hips (koshi), this is a very important thing to remember when studying Wado. Much Wado movement is based around traditional Budo movement common to jujutsu and kenjutsu, and a higher stance for mobility is common.

Nagasu - Parrying, moving off the line of attack to allow it to flow past.
Nagasu means literally "to float," and this movement is like the way a leaf flows around the rocks in a stream. This is usually done in such a way that the opponent's force is used against him/her in the counter-attack. In a nagashi punch, the defender falls off to the outside so that he or she is off the line of attack but is counter-attacking against the attacker's weight and power. In Wado, advanced blocks are often performed in such a way as to "pull" an opponent's attack through.

Inasu - Deflecting and dodging an attacking technique
An alternative to countering the attack with direct force, an attacking hand or foot is deflected, often with a palm heel or similar technique. This is often combined with a twisting movement or a dodging movement.

Noru - Riding, using body pressure to control opponent’s technique
In Noru, the pressure is applied directly to "jam" and control an opponent's body movement, affecting his/her balance (taking kazushi) and limiting attacking movement.

San-Mi-Ittai

Ten-i - Moving the body away from the attack
Ten-tai- Twisting the body to avoid a technique
Ten-gi - Allowing attack to flow through while countering

These terms are a way of describing the elements of of body movement when countering an attack. All three can be seen in Kihon Kumite Ipponme where the defender's body moves to the side on the first technique, twists on the second technique and brushes the attack through while countering. Together, they are called "San-Mi-Ittai."

Timing

Timing can be divided into Kakete and Machite. Kakete is preemptive timing which is called Sente (or Sen-no-Sen), Machite is when an opponent attacks first and is either Sensen no Sente (or Sensen no sen) or Gosen-no-Te (or Go-no-Sen).

Sente - pre-emptive timing, attacking when perceiving the opponent’s intent to attack

Sensen no Sente - Simultaneous counterattack. attacking as the opponent attacks and beating him to the attack

Gosen no Te - Reactive timing, the opponent’s technique is blocked or parried and counter-technique is delivered before opponent’s attack can be completed